Jews in Film and TV: A Bibliography of Materials in the UC Berkeley Library
	Books and Videos Journal Articles Yiddish Film Articles and Books on Individual films [Click on a film] Aimee & Jaguar Au Revoir, les Enfants Avalon Crossfire Downfall Europa Europa The Eternal Jew (Der Ewige Jude) Funny Girl Garden of the Finzi ContiniGentleman's Agreement The Goldbergs (TV/radio) The Golem Hate (La Haine) Hester Street The Jazz Singer Jud SussLife Is Beautiful Judgment at Nuremberg] The Marx Brothers Films Night and Fog The Passion of Christ The Pianist The Pawn Broker Schindler's List Seinfeld (TV) Sophie's Choice To Be or Not to Be Yentl Movies, Race & Ethnicity Videography Bibliography of articles and books about Jewish Studies documentaries in MRC Woody Allen Bibliography Israeli Film bibliography Books and Videos Aaron, Michele, Powrie, Phil (ed. and introd. "Cinema's Queer Jews: Jewishness and Masculinity in Yiddish Cinema." In: The Trouble with Men: Masculinities in European and Hollywood Cinema. / edited by Phil Powrie, Ann Davies and Bruce Babington. pp. 90-99.London ; New York : Wallflower Press, 2004. Main Stack PN1995.9.M46.T76 2004 The Americanization of the Holocaust Edited by Hilene Flanzbaum. Baltimore : Johns Hopkins University Press, 1999. Main Stack D804.45.U55.A49 1999 Anklewicz, Larry. Guide to Jewish films on video Hoboken, NJ: KTAV Pub. House, 2000. Media Resources Center PN1995.9.J46 A55 2000 Avisar, Ilan "Christian Ideology and Jewish Genocide in American Holocaust Movies." In: Literature, the Arts, and the Holocaust. Pinsker Sanford (ed.) pp: 21-42 Greenwood, FL: Penkevill, 1987. xi, 251 pp.Series title: Holocaust Studies-Annual; 3 (1985) UCB Main D810.J4 H654 Avisar, Ilan Screening the Holocaust: Cinema's Images of the Unimaginable / Ilan Avisar. Bloomington: Indiana University Press, c1988. Series title: Jewish literature and culture. UCB Main PN1995.9.H53 A951 1988 UCB Moffitt PN1995.9.H53 A95 1988 Avisar, Ilan. "Holocaust Movies and the Politics of Collective Memory." In: Thinking about the Holocaust: After Half a Century / edited by Alvin H. Rosenfeld. Bloomington: Indiana University Press, c1997. Jewish literature and culture. Main Stack D804.348.T55 1997 38-58. Baron, Lawrence. Projecting the Holocaust into the present : the changing focus of contemporary Holocaust cinema Lanham, Md. : Rowman & Littlefield, c2005. MAIN: PN1995.9.H53 B37 2005; View current status of this item Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012519.html Barr, Marleen. "Jews and Independence Day, Women and Independence Day: Science Fiction Apocalypse NowEvokes Feminism and Nazism." In: Imagining apocalypse: studies in cultural crisis / edited by David Seed. pp: 199-214. New York: St. Martin's Press, 2000. Main Stack PR830.S35.I43 2000 Bartov, Omer. The "Jew" in cinema: from the golem to Don't touch my Holocaust Bloomington: Indiana University Press, c2005. MAIN: PN1995.9.J46 B37 2005; View current status of this item Table of contents http://www.loc.gov/catdir/toc/ecip0418/2004013503.html Bartov, Omer. Murder in our Midst: The Holocaust, Industrial Killing, and Representation / Omer Bartov. New York: Oxford University Press, 1996. UCB Main D804.3 .B363 1996 Bartov, Omer. "'Seit die Juden weg Sind ...': Germany, History, and Representations of Absence." In: A User's Guide to German Cultural Studies / edited by Scott Denham, Irene Kacandes, and Jonathan Petropoulos. pp: 209-26. Ann Arbor: University of Michigan Press, c1997. Social history, popular culture, and politics in Germany Main Stack DD67.U74 1997 Bartov, Omer. The "Jew" in cinema: from the golem to Don't touch my Holocaust Bloomington: Indiana University Press, c2005. MAIN: PN1995.9.J46 B37 2005 Bender, Eileen T. "Androgynous Scribes, Duplicitous Inscription: Isaac Bashevis Singer's Cinematic Dreamscapes" In: Florida State University Conference on Literature and Film (10th: 1985: Tallahassee)The Kingdom of Dreams in Literature and Film: Selected Papersfrom the Tenth Annual Florida State University Conference on Literature and Film. Tallahassee: University Presses of Florida, c1986. pp. 114-127. Main Stack PN1993.4.F641 1985 NRLF #: B 3 567 225 Bernard-Donals, Michael F. Between witness and testimony: the Holocaust and the limits of representaion Albany: State University of New York Press, c2001. MAIN: D804.3 .B4445 2001 Bial, Henry Acting Jewish : negotiating ethnicity on the American stage & screen Ann Arbor : University of Michigan Press, c2005. Main Stack PN1590.J48.B53 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0513/2005014439.html Brook, Vincent Something ain't kosher here: the rise of the "Jewish" sitcom / Vincent Brook. New Brunswick, N.J.: Rutgers University Press, c2003. Main Stack PN1992.8.J48.B76 2003 Browder, Laura. "Made Jews: The Immigrants' Answer to Horatio Alger." In:Other Americans, other Americas: the politics and poetics of multiculturalism / edited by Magdalena J. Zaborowska. Aarhus, Denmark: Aarhus University Press, c1998. Dolphin (Arhus, Denmark) ; 28. Ethnic studies library: E184.A1.O86 1998 Buhle, Paul From the Lower East Side to Hollywood: Jews in American popular culture. London ; New York: Verso, 2004. MAIN: PN1590.J48 B84 2004; MOFF: PN1590.J48 B84 2004 Table of contents> http://www.loc.gov/catdir/toc/ecip0412/2003027790.html Burstein, Janet "Projected images: portraits of Jewish women in early American film." In: Talking back: images of Jewish women in American popular culture." / edited by Joyce Antler. Hanover, NH: Brandeis University Press, published by University Press of New England, c1998. Brandeis series in American Jewish history, culture, and life. Main Stack E184.J5.T25 1998 Carr, Steven Alan Hollywood and anti-semitism: a cultural history up to World War II / Steven Alan Carr. Cambridge [England]; New York: Cambridge University Press, 2001. Series title: Cambridge studies in the history of mass communications. Full-text of this book available online via ebrary [UC Berkeley users only] UCB Moffitt PN1993.5.U65 C37 2001 Colombat, Andre The Holocaust in French Film / by Andre Pierre Colombat. Metuchen, N.J.: Scarecrow Press, 1993. Series title: Filmmakers series; no. 33. UCB Main PN1995.9.H53 C66 1993 Cowen, Paul S. "The cinematic melting pot: ethnicity, Jews, and psychoanalysis." In: Unspeakable images: ethnicity and the American cinema / edited by Lester D. Friedman. Urbana: University of Illinois Press, c1991. Main Stack PN1995.9.M56.U57 1991 Moffitt PN1995.9.M56.U57 1991 Compar Ethn PN1995.9.M56.U57 1991 Creating Jewish characters for TV Museum of Television and Radio. [videorecording] Los Angeles, CA: The Museum, [1998] VHS. University satellite seminar series. Television, the creative process Media Center VIDEO/C 5744 Cripps, Thomas "African Americans and Jews in Hollywood; antagonistic allies." In: Struggles in the promised land : toward a history of Black-Jewish relations in the United States / edited by Jack Salzman & Cornel West. pp: 257-274. New York : Oxford University Press, 1997. Main Stack E185.61.S915 1997 Dates, Jannette "The evolutionary image of the Jew in American film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Davis, Todd F.; Womack, Kenneth. "The List Is Life: Schindler's List as Ethical Construct." In: Mapping the ethical turn: a reader in ethics, culture, and literary theory / edited by Todd F. Davis and Kenneth Womack. pp: 151-64 Charlottesville: University Press of Virginia, 2001. Main Stack PN98.M67.M37 2001 Desser, David. American Jewish filmmakers / David Desser and Lester D. Friedman. 2nd ed. Urbana: University of Illinois Press, c2004. Main Stack PN1998.2.D47 2004 UCB Main PN1998.2 .D47 1993 (earlier edition) Table of contents http://www.loc.gov/catdir/toc/ecip041/2003005506.html Desser, David "Jews in space: the "ordeal of masculinity" in contemporary American film and television." In: Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century / edited by Murray Pomerance. p. 267-81. Albany: State University of New York Press, c2001. SUNY series, cultural studies in cinema/video. Main Stack PN1995.9.S47.L33 2001 Doneson, Judith E. The Holocaust in American film / Judith E. Doneson. 2nd ed. Syracuse, N.Y.: Syracuse University Press, 2002. Judaic traditions in literature, music, and art. Main Stack PN1995.9.H53.D66 2002 UCB Main PN1995.9.H53 D661 1987 [earlier edition] UCB Moffitt PN1995.9.H53 D66 1987 [earlier edition] Eisenstein, Paul. Traumatic encounters: Holocaust representation and the Hegelian subject Albany: State University of New York Press, c2003. MAIN: PN56.H55 E48 2003 Elliot, Gertel Over the top Judaism: precedents and trends in the depiction of Jewish beliefs and observances in film and television Lanham, Md.: University Press of America, c2003. UCB MAIN: PN1992.8.J48 G47 2003 Entertaining America: Jews, movies, and broadcasting [Edited by] J. Hoberman and Jeffrey Shandler ; with contributions from Maurice Berger ... [et al.]. New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America ; Princeton: Princeton University Press, c2003. Erens, Patricia The Jew in American Cinema / Patricia Erens. Bloomington: Indiana University Press, c1984. Series title: Jewish literature and culture. UCB Main PN1995.9.J46 E7 1984 UCB Moffitt PN1995.9.J46 E7 1984 Friedman, Jonathan C. Rainbow Jews : Jewish and gay identity in the performing arts Lanham, MD : Lexington Books, c2007. MAIN: PN1590.G39 F75 2007 Table of contents http://www.loc.gov/catdir/toc/ecip076/2006100110.html Friedman, Lester D. "'Canyons of Nightmare': The Jewish Horror Film." In: Planks of Reason: Essays on the Horror Film / edited by Barry Keith Grant. Metuchen, N.J.: Scarecrow Press, 1984. pp 126-152. Main Stack PN1995.9.H6.P56 1984 Moffitt PN1995.9.H6.P56 1984 Friedman, Lester D. Hollywood's Image of the Jew / Lester D. Friedman. New York: Ungar, c1982. Series title: Ungar film library. UCB Bancroft E184.J5 F7 1982 UCB Main PN1995.9.J46 .F7 1982 UCB Moffitt PN1995.9.J46 .F7 1982 Friedman, Lester D. The Jewish Image in American Film / Lester D. Friedman. Secaucus, N.J.: Citadel Press, c1987. UCB Main PN1995.9.J46 F721 1987 UCB Moffitt PN1995.9.J46 F72 1987 Friedman, Murray "Jews in American film and television." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Friedman, Regine Mihal. L'image et Son Juif: Le Juif Dans le Cinema Nazi Regine Mihal Friedman. Paris: Payot, 1983. Series title: Aux origines de notre temps. NRLF B 3 567 669 . From Hester Street to Hollywood: The Jewish-American Stage and Screen Edited by Sarah Blacher Cohen. Bloomington: Indiana University Press, c1983. Series title: Jewish literature and culture. UCB Main PN3035 .F76 1983 UCB Moffitt PN3035 .F76 1983 Furman, Nelly "Called to witness; viewing Lanzmann's "Shoah"." In: Shaping losses : cultural memory and the Holocaust / edited by Julia Epstein and Lori Hope Lefkovitz. pp: 55-74. Urbana : University of Illinois Press, c2001. Main Stack D804.195.S47 2001 Furnish, Ben Nostalgia in Jewish-American theatre and film, 1979-2004 New York: P. Lang, c2005. MAIN: PN3035 .F87 2005 Table of contents http://www.loc.gov/catdir/toc/ecip044/2003011710.html Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood / by Neal Gabler. 1st ed. New York: Crown Publishers, c1988. UCB Law Lib KF4298 .G32 UCB Main PN1993.5.U65 G28 1988 UCB Moffitt PN1993.5.U65 G28 1988 Gertel, Elliot. Over the top Judaism: precedents and trends in the depiction of Jewish beliefs and observances in film and television/ Elliot B. Gertel. Lanham, Md.: University Press of America, c2003. Main Stack PN1992.8.J48.G47 2003 Gill, Jonathan. "'Hollywood Has Taken on a New Color': The Yiddish Blackface of Samuel Goldwyn's Porgy and Bess." In: Soundtrack available: essays on film and popular music / edited by Pamela Robertson Wojcik and Arthur Knight. pp: 347-71. Durham, NC: Duke University Press, 2001. Music ML2075.S68 2001 Gilman, Sander L. "Smart Jews": from The Caine mutiny to Schindler's list and beyond." In: Screening the past: film and the representation of history / edited by Tony Barta. p. 63-81. Westport, Conn.: Praeger, 1998. Main Stack PN1995.2.S38 1998 Goldberg, Judith N. Laughter Through Tears: The Yiddish Cinema Judith N. Goldberg. Rutherford [N.J.]: Fairleigh Dickinson University Press; London: Associated University Presses, c1983. UCB Main PN1995.9.Y54 G6 1983 Goldman, Eric A. Visions, Images, and Dreams: Yiddish Film Past and Present Series title: Studies in cinema; no. 24. UCB Main PN1995.9.Y54 G64 1983 Hahn, Barbara "Performing high and low: Jews in modern theater, cabaret, revue, and film." In: Berlin metropolis: Jews and the new culture, 1890-1918 / [edited by] Emily D. Bilski; with essays by Sigrid Bauschinger ... Berkeley: University of California Press; New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America, c1999. UCB Main N6885.B43 1999 Herzstein, Robert Edwin. "The Jew in Wartime Nazi Film: An Interpretation of Goebbels' Role in the Holocaust." In: Holocaust Studies Annual, 3 Greenwood, Fla.: Penkeville Pub. Co., 1984 Garland Reference Library of Social Science. pp: 177-188. UCB Main D810.J4.H654 Hirsch, Joshua Francis Afterimage: film, trauma, and the Holocaust. Philadelphia: Temple University Press, c2004. UCB Main: PN1995.9.H53 H57 2004 Hoberman, J. "Beyond the pale: Soviet Jews and Soviet Jewish cinema." In: The Red Atlantis: communist culture in the absence of communism / J. Hoberman. p. 67-92. Philadelphia: Temple University Press, 1998. Culture and the moving image. UCB Moffitt HX40.H5673 1998 Hoberman, J. Bridge of Light: Yiddish Film Between Two Worlds J. Hoberman. New York: Museum of Modern Art: Schocken Books, c1991. UCB Main PN1995.9.Y54 H6 1991 UCB Moffitt PN1995.9.Y54 H6 1991 Hoberman, J. "First "Jewish" superstar: Charlie Chaplin." In: Entertaining America: Jews, movies, and broadcasting / [edited by] J. Hoberman and Jeffrey Shandler. New York: Jewish Museum, under the auspices of the Jewish Theological Seminary of America ; Princeton: Princeton University Press, c2003. UCB Main Stack PN1590.J48.E58 2003 Hoberman, J. "A Face to the Shtetl: Soviet Yiddish Cinema, 1924-36." In: Inside the Film Factory: New Approaches to Russian and Soviet Cinema / edited by Richard Taylor and Ian Christie. London; New York, NY: Routledge, 1991. Soviet cinema series Main Stack PN1993.5.R9.I57 1991 Moffitt PN1993.5.R9.I57 1991124-50. Holocaust and the moving image : representations in film and television since 1933 Edited by Toby Haggith & Joanna Newman. London ; New York : Wallflower, 2005. Description xxiii, 317 p. : ill. ; 24 cm. Main Stack PN1995.9.H53.H65 2005 Section 1. Film as witness -- Film and the making of the Imperial War Museum's Holocaust exhibition / Suzanne Bardgett -- Preparing the video displays for the Imperial War Museum's Holocaust exhibition / Annie Dodds -- Filming the liberation of Bergen-Belsen / Toby Haggith -- Separate intentions : the Allied screening of concentration camp documentaries in defeated Germany in 1945-46 : Death mills and Memory of the camps / Kay Gladstone -- A witness to atrocity : film as evidence in international war crimes tribunals / Helen Lennon -- Section 2. Film as propaganda -- Veit Harlan's Jud Suss / Susan Tegel -- Fritz Hippler's The eternal Jew / Terry Charman -- Film documents of Theresienstadt / Lutz Becker -- Terezin : the town Hitler gave to the Jews / Zdenka Fantlova-Ehrlich -- The Ministry of Information and anti-Fascist short films of the Second World War / Matthew Lee -- Fighting the government with its own propaganda : the struggle for racial equality in the USA during the Second World War / Stephen Tuck -- Section 3. The Holocaust documentary in film and television -- Nuit et Brouillard : a turning point in the history and memory of the Holocaust / Christian Delage -- Baggage and responsibility - The world at war and the Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators / Ruth Lingford & Tim Webb -- Oswiecim/Auschwitz : the shooting goes on... / Mira Hamermesh -- Seeing and hearing for ourselves : the spectacle of reality in the Holocaust documentary / Elizabeth Cowie -- Section 4. The Holocaust in feature films -- An overview of Hollywood cinema's treatment of the Holocaust / Trudy Gold -- Escape from Sobibor : a film made for television depicting the mass escape from Sobibor Extermination Camp / Jack Gold -- The Holocaust, film and education / Ian Wall -- Young people's viewing of Holocaust films in different cultural contexts / Anna Reading -- Living with the long journey : Alfred Radok's Daleka Cesta / Jiri Cieslar -- Double memory : the Holocaust in Polish film / Ewa Mazierska -- For the few, not the many : delusion and denial in Italian Holocaust films / Giacomo Lichtner -- The survivors' right to reply / Trudy Gold ... [et al.] -- Section 5. Legacy and other genocides -- Human Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators The Holocaust film sourcebook Edited by Caroline Joan (Kay) Picart. Westport, Conn.: Praeger, c2004. Media Center: PN1995.9.H53. H66 2004 Insdorf, Annette. Indelible Shadows: Film and the Holocaust/ Annette Insdorf. 3rd ed. Cambridge ; New York: Cambridge University Press, 2003. Main Stack PN1995.9.H53.I57 2003 PFA PN1995.9.H53.I57 2003 Pacific Film Archive collection; non-circulating Electronic location: Sample text http://www.loc.gov/catdir/samples/cam033/2002023793.html Electronic location: Table of contents http://www.loc.gov/catdir/toc/cam024/2002023793.html Electronic location: Publisher description http://www.loc.gov/catdir/description/cam022/2002023793.html Insdorf, Annette. Indelible Shadows: Film and the Holocaust / Annette Insdorf. 2nd ed. Cambridge; New York: Cambridge University Press, 1989. UCB Main PN1995.9.H53 I57 1989 UCB Moffitt PN1995.9.H53 I57 1989 "The Jews." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia : Balch Institute, 1978. Moffitt PN1995.9.M56.E86 Jewish Film Directory: A Guide to More than 1200 Films of Jewish Interest from 32 Countries Over 85 Years Edited by Matthew Stevens]. Westport, Conn.: Greenwood Press, 1992. UCB Main PN1995.9.J46 J48 1992 UCB Media Ctr PN1995.9.J46 J48 1992 Johnston, Ruth D. "Joke-work : the construction of Jewish postmodern identity in contemporary theory and American film." In: You should see yourself : Jewish identity in postmodern American culture / edited by Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2006. Main Stack NX652.J48.Y68 2006 Das Jiddische Kino Redaktion, Ulrich Kurowski, Ronny Loewy, Thomas Brandlmeier; herausgegeben vom Munchner Filmzentrum, Freunde des Munchener Filmmuseums e.V. in Zusammenarbeit mit dem Kommunalen Kino Frankfurt und... Aufl.: 1oo. [Munchen]: Das Filmzentrum, [1980]. Series title: Film (Munich, Germany);. UCB Main PN1995.9.Y54 J521 1980 Kaplan, Louis. "'I Will Get a Terrific Laugh': On the Problematic Pleasures and Politics of Holocaust Humor." In: Hop on pop: the politics and pleasures of popular culture / edited by Henry Jenkins, Tara McPherson & Jane Shattuc. pp: 343-56. Durham, N.C.: Duke University Press, 2002. Main Stack E169.1.H77 2002 Koch, Gertrud Die Einstellung ist die Einstellung: Visuelle Konstruktionen des Judentums / Gertrud Koch. 1. Aufl., 1. Ausg. Frankfurt am Main: Suhrkamp, 1992. Series title: Edition Suhrkamp; 1674 = n.F., Bd. 674. UCB Main PN1995.9.J46 K6 1992 Koch, Gertrud; Spencer, Andy (translator); Hansen, Miriam (translator) "Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 221-30. New York: G.K. Hall; London: Prentice Hall International, c1996. Perspectives on film. Main Stack PN1993.5.G3.P42 1996 Kohler, Eric D. "Hollywood and Holocaust: A Discourse on the Politics of Rescue." In: Holocaust Studies Annual, 3 Greenwood, Fla.: Penkeville Pub. Co., 1984 Garland Reference Library of Social Science. pp: 79-93. Main Stack D810.J4.H654 Kramer, Naomi. "The Transformation of the Shoah in Film." In: Building history: the Shoah in art, memory, and myth / edited by Peter M. Daley ... [et al.]. pp: 143-48 New York: P. Lang, c2001. McGill European studies ; vol. 4 Main Stack D804.18.B85 2001 Lefkowitz, Deborah. "On Silence and Other Disruptions." In: Feminism and Documentary / Diane Waldman and Janet Walker, editors. pp: 244-66. Minneapolis: University of Minnesota Press, c1999. Main Stack PN1995.9.W6.F447 1999 Link, Jyrgen. "Between Goethe's and Spielberg's 'Aura': On the Utility of a Nonoperational Concept." In: Mapping Benjamin: the work of art in the digital age / edited by Hans Ulrich Gumbrecht, Michael Marrinan. pp: 8 Stanford, Calif.: Stanford University Press, c2003. Main Stack BH201.M32 2003 Loshitzky, Yosefa. Identity politics on the Israeli screen Austin: University of Texas Press, 2001. Main Stack PN1993.5.I86 L37 2001 Lyons, Bonnie "Our mothers and our sisters and our cousins and our aunts: dialogues and dynamics in literature and film." In: Talking back: images of Jewish women in American popular culture / edited by Joyce Antler. Hanover, NH: Brandeis University Press, published by University Press of New England, c1998. Brandeis series in American Jewish history, culture, and life. Main Stack E184.J5.T25 1998 Mamadrama the Jewish mother in cinema / New York: Filmakers Library, [2001] Media Center: VIDEO/C 9255 Marcus, Millicent. Italian film in the shadow of Auschwitz / Millicent Marcus. Toronto ; Buffalo : University of Toronto Press, c2007. Main Stack PN1995.9.H53.M37 2007 Mast, Gerald "Woody Allen: the neurotic Jew as American clown." In: Jewish wry: essays on Jewish humor / edited, with an introduction by Sarah Blacher Cohen. Bloomington: Indiana University Press, c1987. Jewish literature and culture. Main Stack PN6149.J4.J481 1987 p. 125-40. McGraw, Eliza R. L. "Southern Jewishness on screen : Driving Miss Daisy and Southern Jewish documentary." In: Two covenants : representations of Southern Jewishness Baton Rouge : Louisiana State University Press, c2005. MAIN: PS153.J4 M34 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004017727.html Merwin, Ted "Jews in Silent Films." In: In their own image : New York Jews in Jazz Age popular culture New Brunswick, N.J. : Rutgers University Press, c2006. MAIN: PN1590.J48 M47 2006 Table of contents http://www.loc.gov/catdir/toc/ecip0515/2005019945.html Michel, Sonya "Jews, Gender, American Cinema." In: Feminist perspectives on Jewish studies / Lynn Davidman & Shelly Tenenbaum, editors. pp: 244-69. New Haven: Yale University Press, c1994. UCB Main BM729.W6 F45 1994 UCB Moffitt BM729.W6 F45 1994 Mintz, Alan L. Popular culture and the shaping of Holocaust memory in America Seattle: University of Washington Press, c2001. UCB Main D804.45.U55 P67 2001 Nir, Yeshayahu "Jews as powerful victims; ambivalent attitudes in retrospective cinema." In: Major changes within the Jewish people in the wake of the Holocaust : proceedings of the Ninth Yad Vashem International Historical Conference / Yisrael Gutman, ed. ; Avital Saf, co-ed. ; [translators: Naftali Greenwood, Ralph Mandel, Stephanie Nakache]. pp: 635-639 Yad Vashem International Historical Conference (9th : 1993 : Jerusalem) Jerusalem : Yad Vashem, 1996. Main Stack DS134.Y3313 1996 Pearl, Jonathan. The chosen image: television's portrayal of Jewish themes and characters / by Jonathan Pearl and Judith Pearl. Jefferson, N.C.: McFarland, c1999. Main Stack PN1992.8.J48.P43 1999 Perlmutter, Ruth "The images of Jews in American film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Pollock, Griselda "Holocaust Tourism: Being There, Looking Back and the Ethics of Spatial Memory."In: Visual culture and tourism / edited by David Crouch and Nina Lubbren. English ed. Oxford ; New York: Berg, 2003. Anthropology G155.A1.V58 2003 Portuges, Catherine. "Hidden Subjects, Secret Identities: Figuring Jews, Gypsies, and Gender in 1990s Cinema of Eastern Europe." In: Writing New Identities: Gender, Nation, and Immigration in Contemporary Europe / Gisela Brinker-Gabler and Sidonie Smit... Minneapolis: University of Minnesota Press, c1997. pp: 196-215. UCB Main JV7590.W75 1997 Prawer, Siegbert Salomon Between two worlds : the Jewish presence in German and Austrian film, 1910-1933 New York : Berghahn Books, 2005. MAIN: PN1995.9.J46 P73 2005 The Representation of the Holocaust in literature and film Edited by Marc Lee Raphael ; with an introductory essay by Stephen J. Whitfield. Williamsburg, Va.: Department of Religion of the College of William and Mary, 2003. MAIN: PN56.H55 R47 2003 Contents: Introduction / Stephen J. Whitfield -- Psychoanalysis, epistemology, and Holocaust fiction: the case of Cynthia Ozick's the Shawl / Emily Miller Budick -- Gender and representation: love stories in Holocaust films / Esther Fuchs -- Separate realities: Jewish and non-Jewish representation of Jewish identity and the Holocaust in Austria / Dagmar C.G. Lorenz -- Ghost stories: The haunted history of the Italian Holocaust and the case of Rosetta Loy / Millicent Marucs -- Levinas, suffering and the Holocaust / Michael L. Morgan -- The Holocaust in every tongue / Naomi Seidman -- The return(s) of the uncanny in post-Holocaust discourse / Susan E. Shapiro -- The Holocaust and the encyclopedic imagination-see under: Grossman / Naomi B. Sokoloff. Rifkin, Adrian "Parvenu or palimpsest: some tracings of the Jew in modern France." In: The Jew in the text: modernity and the construction of identity / edited and introduced by Linda Nochlin & Tamar Garb. p. 276-91. New York, N.Y.: Thames and Hudson, 1996. Main Stack DS125.J484 1995 Rogin, Michael Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot / Michael Rogin. Berkeley: University of California Press, c1996. UC users only UCB Main PN1995.9.N4 R64 1996 UCB Moffitt PN1995.9.N4 R64 1996 Rosenberg, Warren. "Jewish men with guns: remasculinization in contemporary Jewish American literature and film." In: Legacy of rage: Jewish masculinity, violence, and culture / Warren Rosenberg. Amherst, MA: University of Massachusetts Press, 2001. Main Stack PS153.J4.R67 2001 Sammond, Nicholas; Mukerji, Chandra ""What you are ... I wouldn't eat": ethnicity, whiteness, and performing "the Jew" in Hollywood's Golden Age." In: Classic Hollywood, classic whiteness / Daniel Bernardi, editor. Minneapolis: University of Minnesota Press, c2001. Main Stack PN1995.9.M56.C59 2001 Samuels, Stuart "The sweetening of America: the image of the Jew in film." In: Ethnic images in American film and television / edited by Randall M. Miller. Philadelphia: Balch Institute, 1978. Public papers in the humanities ; public paper no. 1 Moffitt PN1995.9.M56.E86 Santner, Eric L. Stranded Objects: Mourning, Memory, and Film in Postwar Germany / Eric L. Santner. Ithaca, N.Y.: Cornell University Press, 1990. UCB Main PN1993.5.G3 S33 1990 UCB Moffitt PN1993.5.G3 S33 1990 Schappes, Morris. U. "Oliver Twist and Anti-Semitism" In Celluloid Power: Social film Criticism from 'The Birth of a Nation' to 'Judgment at Nuremberg." Edited by David Platt, pp. 453-456. Metuchen, NJ: Scarecrow Press, 1992. Main Stack PN1995.9.P6.C44 1992 Scherr, Rebecca "The uses of memory and abuses of fiction; sexuality in Holocaust film, fiction, and memoir." In: Experience and expression : women, the Nazis, and the Holocaust / edited by Elizabeth R. Baer and Myrna Goldenberg. pp: 278-297. Detroit : Wayne State University Press, c2003. Main Stack D804.47.E86 2003 Scott, Adrian. "Some of My Worst Friends: Motion Pictures and Anti-Semitism." In Celluloid Power: Social film Criticism from 'The Birth of a Nation' to 'Judgment at Nuremberg." Edited by David Platt, pp. 408-419. Metuchen, NJ: Scarecrow Press, 1992. Main Stack PN1995.9.P6.C44 1992 Short, K. R. M. "Hollywood Fights Anti-Semitism, 1945-1947." In: Feature films as history / [edited by] K. R. M. Short. pp: 157-189 Knoxville, Tenn.: University of Tennessee Press, 1981 Main Stack PN1995.2.F38 Die Stadt ohne Juden Wien: Filmarchiv Austria , 2000. Main Stack PN1995.9.J46 S73 2000 Stanfield, Peter "A monarch for the millions : Jewish filmmakers, social commentary, and the postwar cycle of boxing films." In: "Un-American" Hollywood : politics and film in the blacklist era / edited by Frank Krutnik ... [et al.]. New Brunswick, N.J. : Rutgers University Press, c2007. MAIN: PN1995.9.P6 U5 2007 MOFF: PN1995.9.P6 U5 2007 Table of contents http://www.loc.gov/catdir/toc/ecip0710/2007006054.html Stier, Oren Baruch Committed to memory: cultural mediations of the Holocaust Amherst: University of Massachusetts Press, 2003. MAIN: D804.3 .S79 2003 Tegel, Susan. Nazis and the cinema / Susan Tegel. London ; New York : Hambledon Continuum, 2007. Main Stack PN1995.9.N36.T44 2007 Thissen, Judith. "Jewish Immigrant Audiences in New York City, 1905-14." In:American movie audiences: from the turn of the century to the early sound era / edited by Melvyn Stokes and Richard Maltby. pp: 15-28. London: Bfi Publishing, 1999. Main Stack PN1995.9.A8.A44 1999 Trailers Schmailers[videorecording] From the Marx Brothers to Schindler's list and everything in between, this film offers a compact glimpse of the history of Jews in mainstream American cinema. Original coming attraction trailers provide unique insight into the relationship between the marketing departments of Hollywood studios and the growing visibility of Jews in American life. With spotlights on Woody Allen and Barbra Streisand, an overview of films about New York Jewish life, a look at the evolution of films about the holocaust, and much, much more, Trailers schmailers mixes humor and powerful drama with acute social commentary. 1997. 82 min. DVD 7253 Tryster, Hillel. Israel Before Israel: Silent Cinema in the Holy Land / by Hillel Tryster. [Jerusalem]: Steven Spielberg Jewish Film Archive of the Avraham Harman Institute of Contemporary Jewry, Hebrew University of Jerusalem and the Central Zionist Archives, 1995. UCB Main PN1993.5.I75 T79 1995 Walker, Janet Trauma cinema: documenting incest and the Holocaust Published: Berkeley: University of California Press, c2005. MAIN: PN1995.9.D6 W26 2005 MOFF: PN1995.9.D6 W26 2005 Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html Walkowitz, Daniel J. "Smart Jews: from the Caine mutiny to Schindler's list and beyond." In: Screening the past: film and the representation of history / edited by Tony Barta. Westport, Conn.: Praeger, 1998. UCB Main PN1995.2.S38 1998 Weber, Donald "The limits of empathy: Hollywood's imagining of Jews ca. 1947." In: Key texts in American Jewish culture / edited by Jack Kugelmass. New Brunswick, N.J.: Rutgers University Press, c2003. UCB Main Stack E184.35.K49 2003 Welsch, Janice R. "Jews in space: the "ordeal of masculinity" in contemporary American film and television." In: Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century / edited by Murray Pomerance. Albany: State University of New York Press, c2001. SUNY series, cultural studies in cinema/video. Main Stack PN1995.9.S47.L33 2001 Wright, Rochelle The Visible Wall: Jews and Other Ethnic Outsiders in Swedish Film / Rochelle Wright. Carbondale: Southern Illinois University Press, c1998. UCB Main PN1995.9.J46 W75 1998 Zurawik, David. The Jews of prime time / David Zurawik. Hanover, NH: Brandeis University Press/University Press of New England, c2003. Brandeis series in American Jewish history, culture, and life. Main Stack PN1992.8.J48.Z87 2003 Journal Articles Aaron, Michele "The queer Jew and cinema : from Yidl to Yentl and back and beyond." Jewish Culture and History 3,1 (2000) 23-44 Alfaro-Velcamp, Theresa. "'Reelizing' Arab and Jewish ethnicity in Mexican film." Americas: A Quarterly Review of Inter-American Cultural History 63.2 (Oct 2006): 261(20). "A study explores how films like 'El baisano Jalil' and 'Novia que te vea' show the presence of immigrant groups in the cultural fabric of Mexico, and underscores the importance of film in conceptualizing the dimensions of ethnic identity. It draws on these two films and Mexican history to argue that 'mexicanidad' is a flexible, dynamic concept that allows ethnically 'other' individuals, such as Arab and Jewish immigrants, to join the Mexican nation." [Expanded Academic Index] Alter, Robert. "Defaming The Jews." Commentary 1973 55(1): 77-82. Examines the negative image of Jews in the film Portnoy's Complaint and other Jewish and non-Jewish fiction and humor since the late 1960's; contrasts useful satire with destructive stereotypes. Barr, Terry. "Eating Kosher, Staying Closer." (eight motion pictures that depict Jewish culture) Journal of Popular Film and Television v24, n3 (Fall, 1996):134 (11pages). UC users only "A study of eight motion pictures released in the late 1980sto the mid-1990s was made to show the importance of the ritual ofJewish family meal to their pursuit of socioeconomic and cultural placein America. These movies are 'Brighton Beach Memoirs;' 'Enemies, ALove Story;' 'Unstrung Heroes;' 'Quiz Show;' 'Crossing Delancey;''Crimes and Misdemeanors;' 'Avalon' and 'Mr. Saturday Night.'" [Expanded Academic Index] Baron, Lawrence (ed. and introd.) "Jewish Film." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 1-121, Fall 2003. Baron, Lawrence "X-Men as J Men: The Jewish Subtext of a Comic Book Movie." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 44-52, Fall 2003. Barr, Terry. "Stars, Light, and Finding the Way Home: Jewish Characters in Contemporary Film and Television." Studies in Popular Culture, vol. 15 no. 2. 1993. pp: 87-100. Baskind, Samantha. "The Fockerized Jew?: questioning Jewishness as cool in American popular entertainment.(Essay)." Shofar 25.4 (Summer 2007): 3(15). UC users only "This essay examines the recent upsurge in overt Jewish identity in American popular culture, using the film Meet the Parents (2000) and its sequel Meet the Fockers (2004) as a case study to demonstrate how the Jewish Jew is no longer avoided and when portrayed does not fall victim to stereotyping. While looking at these two films together, I describe a broader evolution in media from the de-ethnicized Jew, and for that matter the de-ethnicized Jewish actor, to performers flaunting (and thereby celebrating) Jewishness in a Christian-centric society that has found acceptance of the Other. The paper also questions what about Jewishness is cool and describes how viewer subjectivities influence the perception of coolness." [Expanded Academic Index] Baughman, James L. "That'll be the day": response to Freedman.(History in the Making)(response to article in this issue, p. 585)(Critical Essay) American Literary History v12, n3 (Fall, 2000):605 (5 pages). The character of Futterman in John Ford's 'The Searchers' is not necessarily Jewish. The single consideration of race is too narrow a tool to examine such mass cultural artifacts as motion pictures. Bayer, Udo. "Laemmle's List: Carl Laemmle's Affidavits For Jewish Refugees." Film History [Australia] 1998 10(4): 501-521. "Examines film producer Carl Laemmle's philanthropic efforts, including over three hundred affidavits, during 1936-39 to persuade the US State Department to admit larger numbers of Jewish refugees who were being persecuted in Nazi Germany." [America History and Life] Berghahn, Daniela "Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust." German Life & Letters; Apr2006, Vol. 59 Issue 2, p294-308, 15p UC users only Bernheimer, Kathryn "J for Jewish." (Letter). Sight & Sound VII/6, June 97; p.72. Points out some errors in an article examining Jewish film ('Sight and Sound', March 1997). Brackman, Harold. "The Attack On "Jewish Hollywood": A Chapter In The History Of Modern American Anti-Semitism."Modern Judaism [Great Britain] 2000 20(1): 1-19. UC users only "Discusses how starting in the 1920's a "vituperative ethnoculture" influenced by white Protestants in America promoted the idea that the Hollywood film industry was controlled by Jews who were set on undermining American values. Conservative criticism of Hollywood continued into the 1990's, although, with important exceptions (such as Pat Buchanan) they were generally reluctant to play the Jewish card. Instead, some of this criticism came from radicals, such as black nationalist Louis Farrakhan, or from movie star Marlon Brando, or Berkeley academic Michael Rogin, who gave a scholarly patina to a pejorative characterization of Jews." [America History and Life] Brown, Nancy Thomas "From Weimar to Hollywood: Christian images and the portrayal of the Jew." Film & History Vol XXXII nr 2 (2002); p 14-23. "Focuses on the transmission and consequences of Christian anti-semitism. Examines the Weimar cinema's treatment of Jewish identity, the Nazis and finally the postwar Holocaust-related films. Argues that "Schindler's list" fits into the notion that Jewish survival depends on Christian benevolence." [FIAF] Brownlow, Kevin. "Hungry Hearts: A Hollywood Social Problem Film Of The 1920s." Film History 1987 1(2): 113-125. "Documents the case history of Hungry Hearts, a 1922 film release in which the original intention of producing a realistic drama about the difficulties of a poor Russian-Jewish immigrant family was abandoned by producers more concerned with making the film palatable to the public." [from ABC-CLIO America: History & Life] Cieutat, Michel "Le Juif selon Hollywood (de The jazz singer, 1927 - Yentl, 1981)." Cin?mAction; nr.37 (Feb 1986); p.82-93 Describes the pre-1960's difficulty of presenting a film with a blatantly Jewish theme, and the efforts of US Jewish filmmakers to resist the assimilation expected of them by Hollywood. Clarens, Carlos "Jews in the movies." Film Comment 17,4 (1981) 33-48 Clarens, Carlos "Mogul - That's a Jewish Word." Film Comment XVII/4, July-Aug 81; p.34-36. Discusses the leading Jewish executives in the Hollywood film industry as a class and as a creative force. Cocks, Geoffrey. "The Hinting: Holocaust Imagery In Kubrick's The Shining." Psychohistory Review 1987 16(1): 115-136. "The genocide committed against the Jews by the Nazis during World War II "serves . . . as the veiled benchmark of evil" in Stanley Kubrick's movie The Shining (1980). Although the reclusive director has not confirmed the existence of any indirect references to the Holocaust in the film, such references are not inconsistent with his other work. This article analyzes the Kubrick corpus in terms of Freudian categories, Nazi policies toward the Jews, and the artistic tradition of the grotesque." [from ABC-CLIO America: History & Life] Cohen, D. "Dans les bagages culturels du juif: l'humour." Cin?mAction; nr.37 (Feb 1986); p.48-53 Examines the essentially Jewish humour in the films of Woody Allen, the Marx Brothers, Chaplin and Jerry Lewis. Cohen, Joseph. "Yiddish Film And The American Immigrant Experience." Film & History 1998 28(1-2): 30-44. The American Yiddish cinema, which consists of about 130 features and 30 short films made between 1910 and 1941, facilitated the processes of Americanization, modernization, and assimilation for immigrant Jewish viewers. Cripps, Thomas "The movie Jew as an image of assimilationism, 1903-1927." Journal of Popular Film and Television;Vol.IV nr.3 (1975); p.190-207 Tracing the history of the Jewish character in US film from 1903 through the coming of sound. Incl. a discussion of films that revolve around Jewish assimilation - especially with the Irish. Deleuze, Gilles; Murphy, Timothy S. (translator) "The Rich Jew." Discourse 20, no. 3 (1998 Fall): p. 44-46 Desser, David. "'Consumerist realism': American Jewish lifeand the classical Hollywood cinema." Film History (8:3) 1996, 261-80. UC users only Doneson, J.E. (UK) "The Abraham F. Rad Contemporary Jewish Film Archives, Jerusalem, Israel." Historical Journal of Film, Radio and Television V/1, Mar 85; p.113-118. Description of the archive's history and holdings. Doneson, Judith E. "Holocaust Revisited: A Catalyst For Memory Or Trivialization?" Annals of the American Academy of Political andSocial Science 1996 548: 70-77 "In any exchange on film and the Holocaust, the difficulty surfaces over the merits or, in many scholarly reviews, the lack of merit of Hollywood simulations of the Final Solution. Academic circles tend to oppose the Hollywood culture. Yet such cinematic dramatizations of the Holocaust have helped to shape memory of the Holocaust in the popular consciousness. This article examines the controversy over the perceived exploitative nature of Hollywood interpretations of the Final Solution and critiques of the film medium as a source for memory, but it also indicates a number of ways in which Holocaust-related films have become the defenders." [Historical Abstracts] Doneson, Judith E. "Portraits of the Jew in film; some recent studies." Studies in Contemporary Jewry 3 (1987) 222-227 Desser, David "'Consumerist realism': American Jewish life and the classical Hollywood cinema." Film History; Vol.VIII nr.3 (1996); p.261-280 Examines the influence of American-Jewish entrepreneurs in the film industry in the late silent era Desser, David The return of the repressed: the Jew on film. Quarterly Review of Film Studies; Vol.IX nr.2 (Spring 1984); p.126-132 Review essay on four recent contributions to Jewish film studies. Doneson, Judith E. "History And Television, 1978-1988: A Survey OfDramatizations Of The Holocaust." Dimensions 1989 4(3): 23-27. Examines recent American television films, including Holocaust (1978) and War and Remembrance(1988), designed to inform the American public about the mass murder of European Jews and others during World War II. Doneson, Judith E. "Portraits of the Jew in Film: Some Recent Studies." Studies in Contemporary Jewry 3 (1987) 222 Epstein, Leslie. "Blue Skies: Reflections on Hollywood and the Holocaust." Tikkun v4, n5 (Sept-Oct, 1989):11 (11 pages). Erens, Patricia. "Gangsters, Vampires, And J.A.P.'S: The Jew Surfaces In American Movies." Journal of Popular Film 1975 4(3): 208-222. Erens, Patricia Brett; Sinyor, Gary. "No Closer to Eden." (includes related article on Jews in films) Sight and Sound v3, n6 (June, 1993):20 (3 pages). Erens, Patricia "1947-1967: le r?le du Motion Picture Project ? Hollywood." Cin?mAction;nr.37 (Feb 1986); p.102-111 Describes the work of the US Motion Picture Project, set up in 1947 to prevent negative portrayals and stereotypes of Jewish characters in films. Erens, Patricia Gangsters, vampires and J.A.P.'s: The Jew surfaces in American movies." Journal of Popular Film and Television; Vol.IV nr.3 (1975); p.208-222 "Discussion of current films that deal with the Jew and the diversity of US film where heroes can be ethnic and still play the star. Discusses the emergence of the Jewish woman on screen, and the Jewish man in a new role, that of gangster." [FIAF] Erhart, Julia. "From Nazi whore to good German mother: revisiting resistance in the Holocaust film." Screen (Great Britain) 41 n4 (2000): 388-403. Ertel, R. "Le 'Yiddishland'." CinemAction; nr.37 (Feb 1986); p.56-61 Recognizes the role played in Hollywood by Jewish directors who have emigrated from the eastern countries of Europe. Euvrard, Janine "Roger Hanin: 'Il y a un humour juif s?pharade sp?cifique, different de l'humour juif new-yorkais'." Cin?mAction; nr.37 (Feb 1986); p.164-167 French director R.H. explains what makes a Jewish film. Fielder, Mari Kathleen. "Fatal Attraction: Irish-Jewish Romance In Early Film And Drama." Eire-Ireland 1985 20(3): 6-18. " A popular theme of live theater and films in the United States during the 1920's was romance between children of Irish and Jewish immigrants. The best-known of these dramas was Abie's Irish Rose, which opened on Broadway in 1922, but there were numerous other productions using the interfaith love theme. This theme offered many opportunities for the sentimental comedy favored by middle-class Protestant audiences. It also idealized the supposed aspiration of immigrants to "Americanize," and thus reassured Protestant audiences during a decade when nativist influences were strong." [from ABC-CLIO America: History & Life] Finler, Joel "J for Jewish." (Letter). Sight & Sound VII/10, Oct 97; p.72. Corrects errors in 'A-Z of cinema: J Jewish' published in 'Sight and Sound' March 1997. Freedman, Jonathan. "The affect of the market: economic and racial exchange in 'The Searchers'." (History in the Making)(Critical Essay) American Literary History v12, n3 (Fall, 2000):585 (15 pages). John Ford's 1956 film 'The Searchers' links commerce to race. This motion picture portrays corrupt capitalism in the Jewish character Fetterman and the possible redemption of an immigrant community through miscegenation. Friedman, Lester D. "Celluloid Assimilation: Jews in American Silent Movies." Journal of Popular Film and Television, vol. 15 no. 3. 1987 Fall. pp: 129-136. UC users only Friedman, Lester D. "Conversion of the Jews." (Jews in motion pictures) Film Comment v 17 July/Aug 1981. p. 39-42 Friedman, Lester D. "The Edge of Knowledge: Jews as Monsters Jews as Victims." MELUS, vol. 11 no. 3. 1984 Fall. pp: 49-62. Friedman, Lester. "The Rich and Varied Images of Jews in American Films."(End paper)(Exhibition of "Jews in American Cinema: 1898-1989" at the Jewish Community Center in Salt Lake City and Museums at Stony Brook, N.Y. Chronicle of Higher Education v37, n8 (Oct 24, 1990):B68. Friedman, R. M. "Exorcising the Past: Jewish Figures in Contemporary Films." Journal of Contemporary History Vol. 19, No. 3 (Jul., 1984), pp. 511-527 UC users only Fuchs, Esther. "Gender and Holocaust Docudrama: Gentile Heroines in Rescue Films." Shofar: An Interdisciplinary Journal of Jewish Studies. 22 (1): 80-94. 2003 Fall. Gabler, Neal. "The Jewish Problem." (anti-semitism in pre World War II Hollywood) American Film v13, n9 (July-Aug, 1988):39 (8 pages). Discusses the role of Jews in the creation of Hollywood, with comments on the question of anti-Semitism in Hollywood today from members of the industry. Gardner, Jared. "Covered Wagons and Decalogues: Paramount's Myths of Origins." Yale Journal of Criticism 2000 Fall, 13:2, 361-89. Gough-Yates, Kevin "Jews and Exiles in British Cinema." Leo Baeck Institute, Year Book 37 (1992) 517 Gauteur, Claude "R?actions en patchwork." Cin?mAction; nr.37 (Feb 1986); p.32-37 Quotes from the French press by Jewish directors recalling their problems in trying to set up films with Jewish themes. Gauteur, Claude "A propos de la difficult? d'une approche..." Cin?mAction; nr.37 (Feb 1986); p.26-31 Outlines the difficulties faced by the author from 1967-72 in setting up a project on the Jewish question and its treatment by the cinema. Geuens, Jean-Pierre. "Pornography and the Holocaust: The Last Transgression." Film Criticism, vol. 20 no. 1-2. 1995 Fall-1996 Winter. pp: 114-30. Goldmann, Annie "Richard Dembo. 'Il faut cesser de penser qu'il y a cin?ma juif quand on voit un Juif sur l'?cran'." Cin?mAction; nr.37 (Feb 1986); p.179-183 Dembo speaks of his identities as a Jew and a filmmaker, and comments on the cinema's treatment of Jewish themes. Gordon, Alex "Sight and Sound A-Z of Cinema. J Jewish." Sight & Sound VII/3, Mar 97; p.28-30,32. illus. A list of key films, key people, and a chronology of key events related to Jewish filmmakers, and the history of Jewish people. Greenblum, Joseph. "Does Hollywood Still Glorify Jewish Intermarriage? The Case of 'The Jazz Singer.'" American Jewish History v83, n4 (Dec, 1995):445 (25 pages) "Compares the film The Jazz Singer produced in1927 by Warner Brothers and starring Al Jolson with the 1980 Neil Diamond version, and the cinematic treatment of Jewish intermarriage and assimilation. As the first successful feature film with sound dialogue, the Jolson version presented viewers with the conflicts of interfaith romantic relationships, intermarriage as an element of Jewish Americanization, and career choices that override Jewish commitments. Although a commercial failure, the 1980 version clearly exemplified a shift from assimilation to pride in religious identity. The gentile in the 1980 remake accepted her partner's Jewishness and served as a catalyst in restoring the relationship of Jewish father and son." [America History and Life] Gross, Barry. "No Victim, She: Barbara Streisand and the Movie Jew."The Journal of Ethnic Studies, vol. 3 no. 1. 1975 Spring. pp: 28-40. Herman, Felicia. "American Jews and the Effort to Reform Motion Pictures, 1933-1935. American Jewish Archives Journal 2001 53(1-2): 11-44. "The pervasive influence of American Jews in Hollywood and on film content is one of the historical truisms of the 20th century. Indeed, during the 1930's calls for movie censorship were sometimes inseparable from anti-Semitic attacks on "Jewish Hollywood." This article examines the role of prominent rabbis and Jewish leaders in the movement to "reform" film during the so-called Golden Age of Hollywood. The Jewish community adopted a number of strategies to cope with the issue. In 1934, the Jewish Anti-Defamation League directly communicated the necessity of reform to Jewish film industry executives. Meanwhile, the Central Conference of American Rabbis tried to create a prominent public role for Jews in an interfaith movement for the reform of Hollywood." [America History and Life] Herman, Felicia. "Hollywood, Nazism, and the Jews, 1933-1941." American Jewish History. 89(1):61-89.2001 Mar UC users only Herman, Felicia. "'The Most Dangerous Anti-Semitic Photoplay in Filmdom': American Jews and The King ofKings." (DeMille, 1927) Velvet Light Trap. 46:12-25. 2000 "Examines the relationship between the American Jewish community and the motion picture industry in the 20th century. Analyzes the 1927 blockbuster film "The King of Kings" directed by Cecil B. DeMille. Considers anti-Semitic sentiment prior to World War II in the United States. Informs that DeMille's film spurred the creation of the first official relationship between an American Jewish organization, the Independent Order of B'nai B'rith, and the Motion Picture Producers and Distributors Association (MPPDA), as well as a promise that the MPPDA would not allow production of films which denigrated the Jews in any way. Remarks on the popular response to this film and the controversy that ensued." [International Index to the Performing Arts] Herman, Felicia Hollywood, Nazism, and the Jews, 1933-41. American Jewish History 2001 89(1): 61-89. UC users only "Assesses the view that the Hollywood film industry avoided questioning Nazi persecution ofEurope's Jews prior to US entry into World War II. Jewish studio executives allegedly did not want to be accused of advocating Jewish propaganda by making films with overtly antifascist themes. Actually they were pressured by such organizations as the Anti-Defamation Leagueand by national Jewish leaders to avoid such themes lest American Jews suffer ananti-Semitic backlash. However, several films with antifascist themes, notably The House ofRothschild, The Life of Emile Zola, and the short film Sons of Liberty, won popular approval.The view of historians of the late 20th century notwithstanding, these films contain subtle yeteffective statements about the fascist threat to American values." [America History and Life] Hirsch, Joshua Francis Afterimage: film, trauma, and the Holocaust Philadelphia: Temple University Press, c2004. MAIN: PN1995.9.H53 H57 2004 Hoberman, J. "Der-Ershter-Talkies - 'Uncle Moses' and the Coming of Yiddish Sound Film." Film Comment, 1991 Nov-Dec, V27 N6:32-39. Hoberman, J. "Jews on the Screen." Film Comment 17:4 (1981:July/Aug.) 36 Holberg, Amelia S. "Betty Boop: Yiddish Film Star." American Jewish History v87, n4 (Dec, 1999):291. UC users only "Analyzes the Jewish context for the cartoons ofMax and Dave Fleischer, focusing on their Betty Boop series in the 1930's. Raised in the culture of Jewish, working-class, immigrant New York, the Fleischer brothers created cartoons that in subtle ways reflected their background. Early films had appealed to immigrant Jews for their slapstick vulgarity, whereas vaudeville attracted audiences with middle-class aspirations. The Fleischers retained an earthy Jewish view of American life, incorporating such themes as assimilation, generation gap, and stereotyping of other nationalities and races in their cartoons. Betty Boop became the flashy flapper in conflict with her own cultural background. The distinctiveness of the Betty Boop cartoons ended with the strictures of the Production Code in 1934 and the redefinition of cartoons as entertainment for a juvenile audience." [America History and Life] Horak, Jan-Christopher "Zionist Film Propaganda in Nazi Germany." Historical Journal of Film, Radio and Television IV/1, 84; p.49-58. A description of Zionist film production during the 1930's in Germany and the work of the Palestine Film Office. Isaac, Dan. "Film And The Holocaust." Centerpoint 1980 4(1): 137-140. Discusses two films by Czech filmmakers: The Cremator, directed by Juraj Herz, and Diamonds of the Night, directed by Jan Nemec; both films are vivid portrayals of the Holocaust in Czechoslovakia. Jancu, Robert. "Jackie Mason's World According to Hollywood." (portrayal of Jews and minorities in the media) Judaism: A Quarterly Journal v40, n2 (Spring, 1991):134 (14 pages). Jenkins, H. 'Shall we make it for New York or for distribution?': Eddie Cantor, Whoopee, and regional resistance to the talkies." Cinema Journal; Vol.XXIX nr.3 (Spring 1990); p.32-52 The openly Jewish comic persona of Eddie Cantor had to be toned down in films following "Whoopee!" for the benefit of regional US audiences unfamiliar with such Broadway and East Coast vaudeville material, and resistant to sound cinema in general. Kellman, Steven G. "Weddings, funerals, and thanksgivings; Jews in recent film." Midstream 37,2 (1991) 42-45 Kaminsky, S.M. "Eight comedy directors of the last decade." Film Reader; nr.1 (1975); p.59-65 Discusses the main themes in US comedy films and analyses the work of Woody Allen, Mel Brooks, Elaine May, Carl Reiner, Gene Saks, Jerry Paris, Mel Stuart, and Bud Yorkin; traces strains of Jewish humour. Kauffmann, Stanley "A Predicament." (films on the Holocaust)(Column)(Transcript) New Republic v213, n24 (Dec 11, 1995):24 (3 pages). Kenez, Peter "Jewish Themes in Stalinist Films." Judaism: A Quarterly Journal of Jewish Life and Thought 45, no. 3 (179) (1996Summer): p. 277-84 UC users only Kenez, Peter "Jewish Themes in Stalinist Films." Journal of Popular Culture 31, no. 4 (1998 Spring): p. 159-69 Kellman, Steven G. " We Lost It At The Movies." Midstream 1984 30(10): 43-45. Although the American film industry was founded by Jews, films have usually avoided portraying Jews, except as seeking assimilation into the American mainstream. Kenez, Peter. "Jewish Themes in Stalinist films."(Soviet Union) Judaism: A Quarterly Journal of Jewish Life and Thought v45, n3 (Summer, 1996):277 (8 pages). " Between 1924 and 1938 Soviet studios produced a handful of films on Jewish topics. Though none were especially outstanding, the films do deserve some attention as an instrument for examining change. The films shed light on changes in the Soviet film industry, as well as revealing changes in the political climate, especially the attitude toward Jews. During the period Soviet cinema became homogeneous and artistic experimentation was renounced. After the 1920's, Soviet cinema would never regain the international prestige it once enjoyed." [Historical Abstracts] Kirby, Jack Temple. "D. W. Griffith's Racial Portraiture." Phylon 1978 39(2): 118-127. "In his more than 400 films, David Wark Griffith treated racial themes frequently. He used stereotypes constantly: Jews were ingratiating and parsimonious, Italians and Hispanics passionate and often violent; American Indians noble savages; Orientals inscrutable and tradition-bound. Yet all of these ethnic types could be either good or bad, depending on the film. Griffith makes Indians heroes more often than villains, and sympathizes with the struggle against the encroaching whites. Ramona (1910) depicts white persecution of the mestiza Ramona and her Indian lover. Blacks, however, were either wicked or docile retainers; in Birth of a Nation (1915) Griffith enshrines these racial stereotypes in one of the greatest films ever made. In Intolerance, he chronicles many instances of that vice in history, but never racial prejudice as a form thereof. Griffith's racism, however, should not be singled out for condemnation; it was typical of the time, and many made films more viciously racist than did Griffith." [from ABC-CLIO America: History & Life] Kimmel, Daniel M. "Goebbel's Work." Film Comment XXII/6, Nov-Dec 86; p.74-75. illus. Describes the plans of the National Center for Jewish Film to distribute Nazi anti-Semitic films for academic purposes. Koch, Gertrud; Spencer, Andy; Hansen, Miriam "Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." New German Critique, No. 38, Special Issue on the German-Jewish Controversy. (Spring - Summer, 1986), pp. 28-38. UC users only Koch, Gertrud. "On the Disappearance of the Dead Among the Living - The Holocaust and the Confusion of Identities in the Films of Konrad Wolf." New German Critique 1993 Fall, 60, 57-75. Konigsberg, Ira. "Our Children and the Limits of Cinema." (media coverage of the Holocaust) Film Quarterly (Fall, 1998):7. "Our children" and the limits of cinema. Early Jewish responses to the Holocaust. Analysis of films made by European Jews in the years immediately following World War II. Konzett, Delia Caparoso "From Hollywood to Hester Street: Ghetto Film, Melodrama, and the Image of the Assimilated Jew in "Hungry Hearts"." Journal of Film and Video 50:4 [Winter 1998-1999] p. 18-33 "Examines the film adaptation of Jewish immigrant writer Anzia Yezierska's "Hungry Hearts" which offers an example of the ghetto film genre popular in the 1920s. Informs that like Yezierska's work, including her autobiography, "Red Ribbon on a White Horse" (1950), the film exploits popular conceptions surrounding immigrant culture, using critical melodrama to call attention to Hollywood's reliance on these sterotypes and visual representations. Suggests that both text and film attest to the centrality of the immigrant experience as a national narrative that reproduces and in turn is reproduced by the American dream. States that "Hungry Hearts" demonstrates the problematic visual representation of ethnic and collective identities, pointing to the inherent contradictions and ambivalence in the ghetto film as predicated on an authentic representation of ethnic and national identities and traditions." [International Index to the Performing Arts] Koven, Mikel J. "'Cool Jewz': contemporary Jewish identity in popular culture--an introduction." Shofar 25.4 (Summer 2007): UC users only Levinson, Julian "The Maimed Body and the Tortured Soul: Holocaust Survivors in American Film." The Yale Journal of Criticism 17.1 (2004) 141-160 UC users only Lutz Koepnick "Reframing the Past: Heritage Cinema and Holocaust in the 1990s." New German Critique, No. 87, Special Issue on Postwall Cinema. (Autumn, 2002), pp. 47-82. UC users only Kornblatt, Judith Deutsch "Ladies' Tailor and the End of Soviet Jewry." Jewish Social Studies: History, Culture, and Society 5, no. 3 (1999 Spring-Summer): p. 180-95 Krieger, Rosalin. "Does He Actually Say the Word Jewish?" -- Jewish Representations in Seinfeld." Journal For Cultural Research, Vol 7:4 October 2003. UC users only Krieger, Rosalin "Beyond Binaries and Condemnation: Opening New Theoretical Spaces in Jewish Television Studies." Culture, Theory & Critique, 2005, 46 (2), 131-145 "The Objective of this article is to critique the current literature on Jews and Jewishness in North American television. It is our contention that this work is problematic in a number of ways. First, it insists on a strict binary between "bad" and "good" television images and "bad" and "good" audience responses to these images. Second, it assumes that a unified, 'acceptable' Jewish identity pre-exists the production of these images and, and that this identity merely needs to be incorporated into the Television landscape to make its images 'better'. Third, it assumes a direct and unproblematic relationship between what the viewers see on television and how they understand the world. In the second half of this essay we introduce scholarship in other areas of TV and media studies, as well as in the emerging field of Jewish cultural studies, to point to the need to theorize a much more complex relationship between identity and spectatorship than is realized in much of the current literature on Jewishness and television." Langford, Barry. ""You Cannot Look At This": Thresholds Of Unrepresentability In Holocaust Film." Journal of Holocaust Education [Great Britain] 1999 8(3): 23-40. "Until recently the Holocaust was largely off-limitsto Hollywood, but Holocaust (1975), Sophie'sChoice (1982), War and Remembrance (1988),Triumph of the Spirit (1989), and Schindler'sList (1993) changed that perception, although allof those productions, and others, were very muchof existing genre templates, or of a genre. Thereis a counterexample to this genre, typified byShoah (1985), which ultimately insists that theworld of the extermination camps is forever apartfrom this world; both approaches to theHolocaust are necessary and complement eachother." [Historical Abstracts] Lanzmann, Claude. "From The Holocaust To "Holocaust." Dissent 1981 28(2): 188-194. Comments on the moral and historical implications of the Nazi extermination of Jews during World War II and discusses the validity of the American television mini-series, Holocaust. Laqueur, Walter. "Two New Films On America's Response To The Holocaust." American Jewish History 2001 89(1): 135-138. UC users only "Reviews two documentary films on America's response to the Holocaust. Holocaust: The Untold Story (2001) interviews contemporary journalists concerning the failure of the American press to publicize news about millions of Jews being murdered or to understand the information about it. They Looked Away (2000) deals with why Auschwitz was not bombed, examining political and cultural considerations as well as military decisions. They Looked Away effectively refutes the view that nothing could have been done." [America History and Life] Lesser, Julian (Bud). "FDR, Jews And The Movies." Western States Jewish History 1992 24(4): 290-296. "In 1923, Franklin D. Roosevelt submitted a film treatment to Eugene Zukor, son of Paramount Pictures founder Adolf Zukor, on the exploits of his idol, Admiral John Paul Jones. The treatment was returned a year later, but Roosevelt continued to hope that it might someday be produced." [from ABC-CLIO America: History & Life] Lester, Julius. "Black Supremacy and Anti-Semitism: Religion in Malcolm X." Cineaste 1993, 19:4, 16-17. Levi, Jennifer "Performing selves/performing as self; autobiographical films of children of Jewish Holocaust survivors." Journal of Religion and Film 3,2 (1999) Lieberfeld, Daniel; Sanders, Judith. "Here Under False Pretenses: The Marx Brothers Crash the Gates." American Scholar v64, n1 (Wntr, 1995):103 (6 pages). Liebman, Robert Leslie "Rabbis or rakes, schlemiels or supermen? Jewish identity in Charles Chaplin, Jerry Lewis and Woody Allen." Literature/Film Quarterly Vol.XII nr.3 (July 1984); p.195-201 On fantasies of the Jewish schlemiel/superhero in the films of C.C., J.L. and W.A. Lieberman, Rhonda. "Glamorous Jewesses." (on Barbra Streisand and the signification of Jewesses in Hollywood motion pictures) Artforum v31, n5 (Jan, 1993):5 (2 pages). The social context of Jews encompass their ability for pathos which is something the white Anglo-Saxon Protestant (WASP) has lost. The Jewess is depicted in Hollywood films as someone who leads the WASP back into his inner self to discover his ability to feel. On the other hand, the Jewess is also portrayed always striving for the economic status of the WASP, with plenitude as the favorite Jewish fantasy. Barbra Streisand and some of her films are cited as examples. Liebman, Stuart; Quart, Leonard. "Homevideo: Czech Films of the Holocaust." Cineaste v22, n1 (Wntr, 1996):49 (3 pages). Louvish, Simon. "Burning Crosses" (treatment of Jews in D.W. Griffith) Sight and Sound 10, no. 9 (2000 Sept): p. 12-13 On the racism of D.W. Griffith who originally shot the crucifixion of Christ in "Intolerance" showing Jews crucifying Christ rather than the released version which shows Roman soldiers nailing Christ to the cross. Louvish, Simon. "Out of the Shadows." Sight and Sound v3, n6 (June, 1993):18 (3 pages). "Discusses the Jewish experience as imagined by Hollywood and contrasting the viewpoint of recent Israeli cinema; plus an article questioning whether recent films such as "Mr. Saturday Night" and "Used people" offer new visions of Jewish identity." [FIAF] Lunde, Arne "The Visible Wall: Jews and Other Ethnic Outsiders in Swedish Film" Scandinavian Studies (73:1) Spring 2001, 84-86. (2001) UC users only Manchel, Frank. "Michael Rogin On Race, Gender And Film History." Historical Journal of Film, Radio and Television 1997 17(1): 137-143. "Reviews Michael Rogin's Blackface, White Noise:Jewish Immigrants in the Hollywood Melting Pot(1996), which explores the promotion of traditionalracist images by Jewish directors and studio heads inearly Hollywood, traces the roots of Hollywood racismto the tradition of blackface minstrelsy, and scrutinizesthe Hollywood legacy of racism in film." [America History and Life] Matis, D. "The First Jewish Sound Films and 'Kiddush Hashem' of 1914 - The Soviet Film Industry Before Warner-Brothers' `The Jazz Singer'." Yiddish, 1995, V10 N1:34-40. May, Lary L. and May, Elaine Tyler. "Why Jewish Movie Moguls: An Exploration InAmerican Culture." American Jewish History 1982 72(1): 6-25. "Explains why Jewish immigrants replaced theProtestant pioneers as the dominant force in the American film industry by the 1920's. Besidesfirm commitment to America and urban commercialskills that fostered success in many newAmerican enterprises, Jews brought a moreexpressive, festive, non-Victorian traditionthat enabled them to discern and satisfy,through movies, early 20th-century middle-classurban America's taste for moral and recreational experimentation. By upgrading their nickelodeontheaters into luxurious movie palaces, creatingthe movie star and Hollywood studio as models of the new freer life, and controlling productionas well as distribution and supply, Jewish filmmoguls gained full assimilation for themselves, helped other Americans make the transition tomodern values, and established a truly Americaninstitution." [from ABC-CLIO America: History & Life] Mazierska, Ewa "Non-Jewish Jews, Good Poles and Historical Truth in the Films of AndrzejWajda." Historical Journal of Film, Radio and Television v20, n2 (June, 2000):213. UC users only Assesses whether Wajda's portrayal of Jews and the Polish-Jewish relationship is consistent with historical truth. McGraw, Eliza Russi Lowen. "Driving Miss Daisy: Southern Jewishness OnThe Big Screen." Southern Cultures 2001 7(2): 41-59. UC users only "The 1989 film Driving Miss Daisy suggests that Southern Jewish identity grew more complicated in the post-World War II era. Critics have charged that the film merely replicates the white/black racial hierarchies that define Southern society. But Daisy's Jewishness is central to the film and cannot be ignored. She refuses to acknowledge the relationship between the 1958 Atlanta Temple bombing and lynchings of African Americans; nevertheless, she and Hoke, her African American driver, have more in common than she realizes." [America History and Life] Meyer, William E. H., Jr. "An American 'Precedent'? Propaganda in American Movies: The Case of the Hollywood Jews." Literature/Film Quarterly 27, no. 4 (1999): p. 271-81 UC users only This article discusses the role of Jews in the American movie industry and the inclusion of self-serving propaganda in many American movies. Topics include the addition of Jewish characters during the adaptation of a book into a script and the depiction of Jews and Jewish culture in films. See also: Leitch, Thomas M. "Truth, justice, and the American gentile way: a reply to William E. H. Meyer, Jr." (Critical Essay) Literature-Film Quarterly v27, n4 (Oct, 1999):282 (13 pages). UC users only This article presents a criticism of an essay on Jews in the American movie industry by William E. H. Meyer. Topics include anti-Semitism throughout the essay, Meyer's exclusion of films by gentiles, and his lack of distinction between Jews in filmmaking and pro-Jewish attitudes in the finished film. Miller, Randall M. "Review Essay: Jews in (and on, behind, and around) Film." American Jewish History 74:2 (1984:Dec.) 189 Morris, Nomi. "Jews in Tinseltown: Was the American Dream Born in Eastern Europe." (formation of Hollywood film empire) Maclean's v111, n10 (March 9, 1998):70. Murray, Susan "Ethnic masculinity and early television's vaudeo star." Cinema Journal Vol XLII nr 1 (2002); p 97-119. "Discusses how the seemingly contradictory construction of many early television comedy stars (the primary example being Milton Berle) bespeaks rather coherent symbolic constructions of ethnicity, masculinity, and anxieties over the changing demographics of the American cultural landscape." [FIAF] Myers, Carmel. "Film Industry Recollections." Western States Jewish Historical Quarterly 1976 8(2): 126-135. "An early movie star tells how she got started in films. Her father was Rabbi Isidore Myers (1856-1922). Rabbi Myers was asked by film director David Wark Griffith to be a consultant for his film Intolerance. As payment for his services, Rabbi Myers' daughter was allowed to try out for a movie part in Griffith's next film. She got a part and that started her career in which she played leading roles opposite such male stars as Rudolph Valentino, Douglas Fairbanks, Jr., John Gilbert, Lew Cody, and William Haines. She was also very active in Jewish community affairs in Los Angeles." [from ABC-CLIO America: History & Life] Naaman, Dorit "Orientalism as alterity in Israeli cinema." Cinema Journal;Vol.XL nr.4 (Summer 2001); p.36-54 "Deals with the representation of Middle Eastern Jews and Palestinians in the Israeli B-movies of the 1970's and 1980's, specifically the phenomenon of "passing," whereby ethnicity and race are interchangeable in casting and plot. Such passing can empower Middle Eastern Jews to deconstruct ethnic stereotypes, while excluding Palestinians from participating in public discourse." [FIAF] Navailh, Fran?oise "L'image du Juif dans le cin?ma sovi?tique: les fant?mes du Yiddishland." Cin?mAction; nr.37 (Feb 1986); p.229-230 A history of Jewish portrayals in Soviet cinema. Ne'eman, Judd. "The Tragic Sense of Zionism: Shadow Cinema and the Holocaust" Shofar: An Interdisciplinary Journal of Jewish Studies Volume 24, Number 1, Fall 2005 UC users only "Holocaust-related films in Israeli cinema appear in several cycles. The 1980s cycle, which I call Shadow Cinema, expresses ambivalence and guilt and professes a perverse loyalty to a wound that will not heal and to the dead that have never been buried. The analysis of certain junctures in these films brings forth an unexpected analogy between the Sabra new Jew and the Nazi. I argue that these films echo a deeply ingrained recognition that the liquidation of the Diaspora sought by Zionism through immigration of millions of Jews to Palestine, was actually achieved by Nazi Germany through extermination of those same millions. Such inadvertent conflation must have elicited guilt feelings in the Jewish Yishuv in Palestine that had endorsed the "Negation of the Diaspora." The State of Israel, heir to the Yishuv, has inherited these guilt feelings. Israel has unwittingly engulfed itself in guilt for the destruction of the Jews by the Nazis. This tragic sense of Zionism has been in keeping long enough to have sunk in and made Israeli Jews carry indelible guilt vis-?-vis the victims of the Holocaust. Israel lives in a tangled "dead-end future," obsessed with endless bleeding and bloodletting to expiate the six million dead for whose death it innocently and unconsciously puts the blame on itself." New, E. "Film and the Flattening Of Jewish-American Fiction, Malamud,Bernard, Allen,Woody, And Lee,Spike In The City." Contemporary Literature, 1993 Fall, V34 N3:425-450. O'Connor, John J. "This Jewish mom dominates TV, too." (stereotypes and caricatures continue on modern situation comedies) (Living Arts Pages) The New York Times Oct 14, 1993 v143 pB2(N) pC20(L) col 1 (15 col in) Ostriker, Alicia "Whither exodus? Movies as midrash." Michigan Quarterly Review (42:1) [Winter 2003] , p.138-150. (A Special Issue: Jewish in American (Part Two) UC users only "Ostriker discusses the Hollywood films "The Ten Commandments," directed by Cecil B. De Mille, and the animated "The Prince of Egypt" in terms of the Jewish genre of midrash. She argues that the Biblical interpretations of Hollywood epics are appropriate acts of appropriation that are essentially midrashic." (ABELL) "Out of the shtetl: the rediscovery of Yiddish film." The Economist (US) Jan 4, 1992 v322 n7740 p80(1) (982 words) UC users only The National Centre for Jewish Film at Brandeis University mounted a global search for Yiddish films. Twenty-eight motion pictures are now making a world tour. The Yiddish cinema which began in the 1900s in Eastern Europe, was almost wiped out by the second great European war. Ozick, Cynthia. "The Rights of History and the Rights of Imagination." (fiction and films about Jewish Holocaust) Commentary v107, n3 (March, 1999):22 (1 page). Pally, Marcia "Kaddish for the fading image of Jews in film." Film Comment Feb 1984 v20 p49(7) Perlmutter, Ruth "The melting pot and the humoring of America: Hollywood and the Jew." Film Reader; nr.5 (1982); p.247-256 Examines Jewish ambivalence towards assimilation in US society, as shown in the films of Chaplin,the Marx Brothers, and "The jazz singer". Portuges, Catherine. "Exile and Return: Jewish Identity in Post-Communist Hungarian Cinema. Discourse: Journal for Theoretical Studies in Media and Culture, vol. 17 no. 3. 1995 Spring. pp: 24-37. Quart, Leonard. "The Triumph of Assimilation: Ethnicity, Race and the Jewish Moguls." Cineaste, vol. 18 no. 4. 1991. pp: 8-11 UC users only "Traces the representation of ethnicity and race in Hollywood films from 1900 to the present, arguing that Jewish moguls sanitized racial issues in the interests of assimilation and financial security." [FIAF] Rogin, Michael Paul "Black sacrifice, Jewish redemption; from Al Jolson's "Jazz Singer" to John Garfield's "Body and Soul"." In: African Americans and Jews in the twentieth century : studies in convergence and conflict / edited by V.P. Franklin ... [et al.]. pp: 87-101. Columbia, Mo. : University of Missouri Press, c1998. Main Stack E184.36.A34.A47 1998 Rosenberg, Jay (ed. and introd.). Whifield, Stephen J. (ed. and introd.). "The Cinema of Jewish Experience."Prooftexts-A Journal of Jewish Literary History. 22(1-2):1-244. 2002 Winter-Spring UC users only Rosenberg, Joel "Jewish Experience on Film: An Overview." American Jewish Yearbook, 1996 Rosenberg, Warren "Coming Out of the Ethnic Closet: Jewishness in the Films of Barry Levinson." Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 22, no. 1, pp. 29-43, Fall 2003. UC users only Rosenfeld, Alvin H. "The Americanization of the Holocaust." Commentary, vol. 99 no. 6. 1995 June. pp: 35-40. Roskies, David G. "Yiddish on screen." (Yiddish motion pictures) Commentary v93, n4 (April, 1992):47 (4 pages). Yiddish motion pictures were not popular in the US and, consequently, not many films were made. Brandeis University has the largest collection of Jewish films in the world. Influential Yiddish films are described. Shandler, Jeffrey. "Ost Und West, Old World And New: Nostalgia and Anti-nostalgia On The Silver Screen." YIVO Annual 1993 21: 153-188. "Discusses the 1923 silent satiric comedy Ost und West, which juxtaposes the traditions and customs of American immigrant Jews, Polish Jews, and Viennese upper-middle-class Jews. Directed by Sidney M. Goldin and starring Molly Picon, the film evokes both the "going home" and the "antifolklore" genres. After enjoying a successful run in Vienna, where it was made, the film was shown in Poland, Romania, France, and the United States, where it was retitled in English and Yiddish and called Mazel Tov." [from ABC-CLIO America: History & Life] Sicular, Eve "'A Yingl mit a Yingl hot epes a tam': The Celluloid Closet of Yiddish Film." Jewish Folklore and Ethnology Review, vol. 16, no. 1, pp. 40-45, 1994 Sigal, Clancy. "Hollywood During The Great Fear."Present Tense 1982 9(3): 45-48. "Discusses the impact on the Hollywood Jewish community of McCarthyism, blacklisting, and the investigations of the House Committee on Un-American Activities, focusing on the position of Jews, including the author, who worked in the movie industry." [from ABC-CLIO America: History & Life] Slide, Anthony "Hollywood's Fascist follies." Film Comment v. 27 (July/August 1991) p. 62-7 "Despite its image as a liberal community, Hollywood in the 1930s had a hypocritical side. Jewish heads of Fox, Paramount, and Metro-Goldwyn-Mayer maintained polite relations with Nazi Germany for economic reasons, even though they knew what was happening to their fellow Jews in Germany. The major film studios were operating within Germany as late as April 1937, and they maintained offices in Vienna following the German annexation in 1938. George Gyssling, German consul in Los Angeles, closely watched the Hollywood film industry, ensuring that nothing anti-Nazi appeared on the screen. In addition, considerable fascistic activities took place within the film industry. Such right wing, quasi-military troops as the California Light Horse Regiment and the Hollywood Hussars were formed by Hollywood stars, and the Anti-Communist Federation of America circulated violently anti-Semitic fliers." [Art Index] Sorlin, Pierre "Jewish images in French cinema of the 1930s." Historical Journal of Film, Radio and Television; Vol.I nr.2 (Oct 1981); p.139-150 The depiction of Jews in fiction films and the reinforcement of traditional prejudices. Stern, Frank "The Return to the Disowned Home-German Jews and the Other Germany." New German Critique: An Interdisciplinary Journal of German Studies 67, (1996 Winter): p. 57-72 Stratton, David "Mamadrama: the Jewish mother in cinema." Variety; Vol.CCCLXXXIV nr.9 (Oct 15 2001); p.35 Stratton, Jon "Not really white - again: performing Jewish difference in Hollywood films since the 1980s." Screen; Vol.XLII nr.2 (Summer 2001); p.142-166 "Three films of the 1980s, Barbara Streisand's Yentl, Woody Allen's Zelig, and Susan Seidelman's Desperately Seeking Susan, ambiguously express a transformation in how Jews and Jewishness were expressed in American films. During the late 1940s and 1950s, following a long Enlightenment tradition, Jews were depicted as white and their difference was identified in terms of religion rather than culturally. Correlating with a rise in the popular acceptance of a type of multiculturalism that celebrates ethno-racial difference and of the identity politics associated with it, Yentl, Zelig, and Desperately Seeking Susan mark the awkward and ambivalent start of an attempt to express Jewishness as a performance that identifies Jews as a distinct group within American multiculturalism, while preserving, in a moderated form, their classification as white. Jewish self-identification in terms of descent continues, but there is now an emphasis in Hollywood film on distinctive, shared cultural signifiers that will clearly distinguish Jews as a group from whites, especially Anglo-Americans." [Art Index] Tweraser, Felix. "Defining The Holocaust: The Problems And Promise Of Representation." Rendezvous 1999 34(1): 1-8. "Introduces subsequent articles in the journal that examine the "problem of historical memory" as it applies to the Holocaust; that is, how memory is transmitted and the most effective means to do it - such as film, oral history, diaries, and fictional accounts." [Historical Abstracts] Tryster, Hillel "The Land of Promise (1935: A Case Study in Zionist Film Propaganda." Historical Journal of Film, Radio and TelevisionXV/2, June 95; p.187-217. Examines the circumstances surrounding the conception, production and exhibition of "The land of promise", using material from the Central Zionist Archives. Some original documents are reproduced in the microfiche supplement. Vietor-Engl?nder, Deborah. "Theater And Film As A Medium For Presenting The Experiences Of Shoah Survivors Today." European Legacy 1996 1(3): 1254-1259. " The presentations of different modes of survival in the filmed autobiography Hitlerjunge Salomon and a play based on the experience of Theresienstadt have both been effective in making the Shoah experience meaningful and immediate to young people." [Historical Abstracts] Vogel, A. "You Have To Survive Even If It Kills You." (Jewish Film Emigre Exiles Before 1945) Film Comment, 1994 Mar-Apr, V30 N2:31-36. Walker, Janet Trauma cinema: documenting incest and the Holocaust Berkeley: University of California Press, c2005. MOFF: PN1995.9.D6 W26 2005; circ info Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html Weber, Donald "The limits of empathy; Hollywood's imaging of Jews circa 1947." Key Texts in American Jewish Culture (2003) 91-104 Welch, David "'Jews Out!': Anti-Semitic Film Propaganda in Nazi Germany and the 'Jewish Question'." British Journal of Holocaust Education 1:1 (1992:Summer) 55 Whitfield, Stephen J. "Our American Jewish Heritage: The Hollywood Version." American Jewish History 1986 75(3): 322-340. "Analyzes Hollywood's depiction of the Jew as one reflection of the shifting status of Jews in American society. In the silent film era the Jew was a comic figure who achieved success through shrewdness and, finally, intermarriage. During the 1930's-50's - the era of the powerful Jewish movie moguls - Jewishness, both religious and cultural, was submerged in favor of universalism, partly in reaction to strong anti-Semitism in the nation. Since 1960, the expression of Jewish identity and particularity has been unabashed." [from ABC-CLIO America: History & Life] Woodbury, Marsha "Jewish images that injure." In: Images that injure : pictorial stereotypes in the media / edited by Paul Martin Lester and Susan Dente Ross ; foreword by Everette E. Dennis. Edition 2nd ed. Westport, Conn. : Praeger, c2003. Main Stack P96.S74.I45 2003 Yacowar, Maurice "Aspects of the Familiar: A Defense of Minority Group Sterotyping in the Popular Film." Literature Film Quarterly; Spring74, Vol. 2 Issue 2, p129, 11p UC users only Analyzes the stereotyping of minority groups in motion pictures in the U.S. Information on the motion picture 'Battleship Potemkin'; Details on protests against the depiction of African Americans in the motion picture 'The Birth of a Nation,' directed by D.W. Griffith; Discussion on the depiction of Jews in films. Reviews and Articles About Specific Films in the MRC Collection Aimee & Jaguar Berghahn, Daniela "Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust." German Life & Letters; Apr2006, Vol. 59 Issue 2, p294-308, 15p UC users only Cormican, Muriel ""Aimé und Jaguar" and the banality of evil." German Studies Review 26,1 (2003) 105-119 Davidson, John E. "A story of faces and intimate spaces; form and history in Max F?rberb?ck's "Aim?e und Jaguar"." Quarterly Review of Film and Video 19,4 (2002) 323-341 UC users only Gelbin, Cathy S. "Double Visions: Queer Femininity and Holocaust Film from Ostatni Etap to Aimé & Jaguar." Women in German Yearbook, 2007 Issue 23, p179-204, 26p Goldenberg, Myrna. 'From a world beyond': Women in the Holocaust." Feminist Studies, Fall96, Vol. 22 Issue 3, p667, 21p Mennel, Barbara. ""Aimee and Jaguar"; "Love Story."" American Historical Review, 2002, Vol. 107 Issue 1, p320-321, 2p Parkinson, Anna M. "Of Death, Kitsch, and Melancholia: Aimé und Jaguar: 'Eine Liebesgeschichte, Berlin 1943' or 'Eine Liebe grosser als der Tod'?" In: German culture and the uncomfortable past : representations of national socialism in contemporary Germanic literature / edited by Helmut Schmitz. Aldershot; Burlington, VA : Ashgate, c2001. Main Stack PT405.G454 2001 Sieg, Katrin "Sexual Desire and Social Transformation in Aimé & Jaguar." Signs, vol. 28, no. 1, pp. 303-31, Fall 2002 UC users only Taberner, Stuart. "Philo-Semitism in Recent German Film: Aimé und Jaguar, Rosenstrasse and Das Wunder von Bern." German Life and Letters, vol. 58, no. 3, pp. 357-72, Summer 2005 Angry Harvest "Behind 'Angry Harvest': Polish Politics"; [Interview] New York Times (Late Edition (East Coast)). New York, N.Y.: Mar 16, 1986. p. A.17 Brunette, Peter. "Lessons from the Past: An Interview with Angnieszka Holland." Cineaste, vol. 15, no. 1, pp. 15-17, 1986UC users only Crnkovic, Gordana P. "Inscribed Bodies, Invited Dialogues and Cosmopolitan Cinema: Some Brief Notes on Agnieszka Holland." Kinoeye, vol. 4, no. 5, pp. [no pagination], November 2004 Jaehne, Karen. "Angry Harvest." Cineaste Vol XV nr 1 ( 1986); p.39-40 Crnkovic, Gordana P. "Interview with Agnieszka Holland Interview with Agnieszka Holland." Film Quarterly, Vol. 52, No. 2 (Winter, 1998-1999), pp. 2-9 UC users only Jaehne, Karen. "Angry Harvest." Cineaste Vol XV nr 1 ( 1986); p.39-40 Stimmel, Joanna K. "Between Globalization and Particularization of Memories: Screen Images of the Holocaust in Germany and Poland." German Politics & Society, Volume 23, Number 3, Fall 2005 , pp. 83-105(23) UC users only Tibbetts, John C. "An Interview with Agnieszka Holland: The Politics of Ambiguity." Quarterly Review of Film and Video. 2008. Vol. 25, Iss. 2; p. 132 Tibbetts, John C. "An Interview with Agnieszka Holland: The Politics of Ambiguity." Quarterly Review of Film and Video. 2008. Vol. 25, Iss. 2; p. 132 Au Revoir, les Enfants See Louis Malle bibliography Avalon Alleva, Richard. "Avalon." (movie reviews) Commonweal v118, n2 (Jan 25, 1991):54 (3 pages). "Avalon." (movie reviews) Time v136, n21 (Nov 12, 1990):104. "Avalon." (movie reviews) Newsweek v116, n15 (Oct 8, 1990):66 (2 pages). Blake, Richard A. "Avalon." (movie reviews) America v164, n2 (Jan 19, 1991):39. Bowman, James. "Avalon." (movie reviews) American Spectator v24, n1 (Jan, 1991):35 (2 pages). Denby, David. "Avalon." (movie reviews) New York v23, n40 (Oct 15, 1990):68. Goldman, Eric A. "Avalon and Liberty Heights: Toward a Better Understanding of the American Jewish Experience through Cinema." American Jewish History, vol. 91, no. 1, pp. 109-27, March 2003. Johnson, Brian D. "Avalon." (movie reviews) Maclean's v103, n42 (Oct 15, 1990):80. Kassel, Michael B. "The American Jewish Immigrant Family In Film And History: The Historical Accuracy Of Barry Levinson's Avalon." Film & History 1996 26(1-4): 52-60. "In the film Avalon (1990), writer-director Barry Levinson offers a historically accurate and dramatically compelling treatment of the American Jewish immigrant experience, with both its gains and losses." [from ABC-CLIO America: History & Life] Klawans, Stuart. "Avalon." (movie reviews) Nation v251, n15 (Nov 5, 1990):539 (2 pages). Kauffmann, Stanley. "Avalon." (movie reviews) New Republic v203, n19 (Nov 5, 1990):26 (2 pages). Kael, Pauline. "Avalon." (movie reviews) New Yorker v66, n36 (Oct 22, 1990):107 (2 pages). Maslin, Janet. "Avalon." (movie reviews) New York Times v140 (Fri, Oct 5, 1990):C1(L), col 3, 19 col in. Maslin, Janet. "Avalon." (movie reviews) (Living Arts Pages) New York Times v140 (Fri, Oct 5, 1990):B1(N), col 1, 23 col in. Travers, Peter. "Avalon." (movie reviews) Rolling Stone, n589 (Oct 18, 1990):45. Crossfire Fox, D. "Crossfire and HUAC: Surviving the Slings and Arrows of the Committee." Film History III/1, 89; p.29-37. Examines the reasons why "Crossfire" was successful at the box office despite HUAC's insinuation of communist leanings. Holt, Jennifer "Hollywood and politics caught in the Cold War Crossfire (1947)." Film & History; Vol.XXXI nr.1 (2001); p.6-12 Examines how Cold War politics influenced the screenplay, production, as well as, the careers of theproducer and director of the film "Crossfire". Leff, Leonard J. "Film into Story: The Narrative Scheme of Crossfire." Literature/ Film Quarterly, vol. 12 no. 3. 1984. pp: 171-179. The timeless quality of "Crossfire" derives from its elaboration of the problem of identity and its celebration of the narrative imagination. Weber, Donald "The limits of empathy: Hollywood's imagining of Jews ca. 1947." In: Key texts in American Jewish culture / edited by Jack Kugelmass. New Brunswick, N.J.: Rutgers University Press, c2003. UCB Main Stack E184.35.K49 2003 Downfall (Untergang) Bendix, John. "Facing Hitler: German responses to Downfall.(Forum)(Adolf Hitler)." German Politics and Society 25.1 (Spring 2007): 70(21). UC users only "Bernd Eichinger's Der Untergang is the first all-German production in fifty years to feature Hitler in a full-length dramatic film. This article explores the choices and intentions of the producer/scriptwriter, aspects of German public opinion about Hitler, and the critical responses to what was widely seen as an effort to humanize Hitler on screen-though I argue it was ultimately more an effort to finally lay Hitler to rest." [Ingenta] Burleigh, Michael. "Addicted to cold courtesies." TLS. Times Literary Supplement 5325 (April 22, 2005): 18(1). Enright, R. "Filming Degree Zero: Oliver Hirschbiegel's "Downfall"." Border Crossings v. 24 no. 2 (May 2005) p. 18-19 UC users only "A review of Oliver Hirschbiegel's Downfall, a film about Hitler's final days in a Berlin bunker. Watching this film is an act of bearing witness to unspeakable barbarisms, but there is no lesson to be learned nor anything exceptional about the people. The film's direction, cinematography, and acting are all exemplary, but the deeds overarch the man and the film must constantly compete with a history outside its frame. The efforts that Downfall makes to humanize Hitler have little effect in changing the way we read history, and the problem is that Hirschbiegel has made a perfect film about people who had no soul." [Art Index] Falcon, Richard. "Downfall." Sight and Sound 15.5 (May 2005): 52(2). UC users only "Downfall offers a bewildering roll call of real-life Nazi figures, sacrificing narrative economy, emotional engagement, and authorial perspective for a pedantic approach to historical completeness. Offering no emotional access points apart from morbid curiosity or the desire for a visual history lesson, the movie is ultimately of interest for Bruno Ganz's daring, slightly mad performance as a shuffling, ingratiating Fuhrer. The implicit argument made by this performance, which is backed by the movie's huge success at the German box office, is that commercial cinema can now treat Hitler like any other historical dictator." [Art Index] Furtado, Peter. "Downfall (15)." History Today 55.4 (April 2005): 27(1). Haase, Christine "Ready for his close-up? Representing Hitler in Der Untergang (Downfall, 2004)." Studies in European Cinema3 Issue: 3, March 2007 Page(s): 189-199 UC users only "This article analyzes the controversial German film Der Untergang (Hirschbiegel 2004) in light of the demands and limits of representations of the Holocaust and the Third Reich. It addresses the question of how a fictional rendition of Hitler, and thus a 'personalization' of the dictator, might aid or prevent the furthering of our understanding of the events that took place during the Nazi regime, and it examines the representational strategies used in the film to make it a meaningful contribution to working through the nation's past." Oren, Michael B. "Pass the Fault." New Republic; 7/4/2005, Vol. 233 Issue 1, p10-11, 2p UC users only Reports on the continuing interest in Oliver Hirschbiegel's film "Der Untergang" ("The Downfall"), which focuses on the closing days of the Third Reich. Controversial depiction of Adolf Hitler in the film, who is seen not as a one-dimensional monster but as a flesh-and-blood person; Praise given to the actor Bruno Ganz in Israel for his portrayal of Hitler; Suggestion from historian Moshe Zimmerman that Ganz's human portrayal of Hitler shows how even normal people might be seduced by evil; Review of the film. Pelzer, Jurgen. "'The facts behind the guilt'? Background and implicit intentions in Downfall." German Politics and Society 25.1 (Spring 2007): 90(13). UC users only "The film Downfall, released in 2004 at the height of an unprecedented "Hitler wave," has to be seen in a long tradition of literary and cinematic attempts to deal with Germany's "unmasterable past." The filmmakers claimed that by focusing on Hitler's final days before the end of WWII they had discovered "new territory" and presented the "facts behind the guilt." This article points out, however, that the film is historiographically based on the account by Joachim Fest's book Downfall-in which the author, as in his earlier work, follows a methodological approach that personalizes history and focuses on Hitler as "singular personality," rejecting any systematic analysis of political and social context. The film goes even further in its unscrupulous blurring of fact and fiction and simplistically juxtaposes a very small group of perpetrators (basically Hitler and Goebbels) and the large group of victims, i.e., the general population that only wanted to survive. Such an attempt to focus on a tragically failing, isolates Hitler, who alone is to blame for nation's "Downfall" is hardly suitable to help Germans to step out of the shadow of their past." [Ingenta] Europa Europa Billson, Anne. "Europa Europa." (movie reviews) New Statesman & Society v5, n202 (May 15, 1992):36. Crnkovic, Gordana P. "Interview with Agnieszka Holland Interview with Agnieszka Holland." Film Quarterly, Vol. 52, No. 2 (Winter, 1998-1999), pp. 2-9 UC users only Denby, David. "Europa Europa." (movie reviews) New York v24, n27 (July 15, 1991):50 (2 pages). Donahue, William Collins. "Pretty boys and nasty girls: The Holocaust figured in two German films of the 1990s." New England Review (21:4) [Fall 2000] , p.108-124. UC users only Green, Gail. "Europa Europa." Radical Teacher. Winter 1994. p. 62 Heifetz, H. "Europa Europa." (movie reviews) Cineaste XVIII/4, 91; p.51-52. UC users only Johnston, Ruth D. "The Jewish Closet in Europa, Europa." Camera Obscura no. 52 (2003) p. insert 3, 1-33 UC users only Explores the representation of the 'Jewish closet' in "Europa, Europa" and its structural affinities with the gay closet. Kauffmann, Stanley. "Europa Europa." (movie reviews) New Republic v205, n2 (July 8, 1991):26 (2 pages). UC users only "The writer discusses the representation of the Jewish closet in Agnieszka Holland's 1990 film Europa, Europa. The film, based on the autobiography of Salomon Perel, traces the series of masquerades assumed by the hero in order to survive the Holocaust. In so doing, it delineates the epistemological space of the Jewish closet and reveals its structural affinities with the gay closet; the incoherences of Jewish difference establish its analogy with gay identity, and, paradoxically, the visible stigma of circumcision transforms the relation of the closets from one of analogy into one of "masked repetition." This concept offers a model of intertextuality in which one text simultaneously repeats and transforms the structures of other texts and is in turn transformed by them. The writer uses the concept of masked repetition to describe the transposition of the terms that construct sexual difference into terms that construct Jewish difference." [Art Index] Kennedy, H. "Europa Europa." Film Comment v. 27 (July/August 1991) p. 68-9+ Klawans, Stuart. "Europa Europa." (movie reviews) Nation v253, n7 (Sept 9, 1991):279. UC users only Linville, Susan E. "Agnieszka Holland's Europa Europa: Deconstructive Humor in a Holocaust Film." Film Criticism XIX/3, Spring 95; p.44-53. Examines the humorous treatment of Nazi themes in "Europa Europa" and how this may have affected its reception and political impact in Germany. UC users only Linville, Susan E. "Europa, Europa: a test case for German national cinema." Wide Angle Vol XVI nr 3 (Feb 1995); p.38-51 Lungstrum, Janet. "Foreskin Fetishism: Jewish Male Difference in Europa, Europa." Screen, vol. 39 no. 1. 1998 Spring. pp: 53-66. "Agnieszka Holland's controversial German film, Europa, Europa (1991), offers an alternative strategy for sustaining the memory of the Shoah. Based on the autobiography of Salomon Perel, it tells the story of a youth who masks his Jewishness during the Third Reich by playing the role of a Nazi. The sexual hilarity and Brechtian irreverence of this uncomfortable film challenge the usual representation of the Holocaust as a narrative structured along direct-sequence lines, or as an event understood as a totality of good and evil. The film also features another element normally unbefitting the Holocaust film genre: a fetishism that eroticizes the heroic male lead's Jewish body and focuses on his circumcised penis. The film demonstrates and ridicules Nazi racist anxiety over the racial or sexual "castration" of the Aryan in the face of Jewish difference." [Art Index] Magny, J. "Europa Europa." Cahiers du Cinema no. 437 (November 1990) p. 85-6 Pakier, Malgorzata "Agnieszka Holland's Europa, Europa as a Critical Voice in the Polish Debate on the Second World War." In: Mithander, Conny (ed.); Sundholm, John (ed.); Holmgren Troy, Maria (ed.); Strĺth, Bo (preface). 2007. Collective Traumas: Memories of War and Conflict in 20th-Century Europe. (pp. 143-77). Brussels, Belgium: Presses Interuniversitaires Européennes (P.I.E.)-Peter Lang, 268 pp. Rafferty, Terrence. "Europa Europa." (movie reviews) New Yorker v67, n19 (July 1, 1991):81 (3 pages). Romney, Jonathan. "Europa Europa." (movie reviews) Sight and Sound v2, n1 (May, 1992):48 (2 pages). Simon, John. "Europa Europa." (movie reviews) National Review v43, n16 (Sept 9, 1991):45 (2 pages). Strick, P. "Europa Europa." Sight & Sound v. ns2 (May 1992) p. 47-8 Synessios, Natasha. "Europa Europa." (movie reviews) Slavonic and East European Review v72, n2 (April, 1994):385 (3 pages). UC users only John C Tibbetts. "An Interview with Agnieszka Holland: The Politics of Ambiguity." Quarterly Review of Film and Video. 2008. Vol. 25, Iss. 2; p. 132 The Eternal Jew (Der Ewige Jude) Clinefelter, Joan. "A Cinematic Construction of Nazi Anti-Semitism: The Documentary Der ewige Jude." In: Cultural history through a Nazi lens: essays on the cinema of the Third Reich / edited by Robert C. Reimer. pp: 133-54. Rochester, NY: Camden House, 2000. Studies in German literature, linguistics, and culture (Unnumbered) Main Stack PN1995.9.N36.C85 2000 Hornshøj-Møller, Stig "Stig Hornshøj-Møller on 'The Eternal Jew'." Online Resource: http://www.holocaust-history.org/der-ewige-jude/ Holocaust and the moving image : representations in film and television since 1933 Edited by Toby Haggith & Joanna Newman. London ; New York : Wallflower, 2005. Description xxiii, 317 p. : ill. ; 24 cm. Main Stack PN1995.9.H53.H65 2005 Section 1. Film as witness -- Film and the making of the Imperial War Museum's Holocaust exhibition / Suzanne Bardgett -- Preparing the video displays for the Imperial War Museum's Holocaust exhibition / Annie Dodds -- Filming the liberation of Bergen-Belsen / Toby Haggith -- Separate intentions : the Allied screening of concentration camp documentaries in defeated Germany in 1945-46 : Death mills and Memory of the camps / Kay Gladstone -- A witness to atrocity : film as evidence in international war crimes tribunals / Helen Lennon -- Section 2. Film as propaganda -- Veit Harlan's Jud Suss / Susan Tegel -- Fritz Hippler's The eternal Jew / Terry Charman -- Film documents of Theresienstadt / Lutz Becker -- Terezin : the town Hitler gave to the Jews / Zdenka Fantlova-Ehrlich -- The Ministry of Information and anti-Fascist short films of the Second World War / Matthew Lee -- Fighting the government with its own propaganda : the struggle for racial equality in the USA during the Second World War / Stephen Tuck -- Section 3. The Holocaust documentary in film and television -- Nuit et Brouillard : a turning point in the history and memory of the Holocaust / Christian Delage -- Baggage and responsibility - The world at war and the Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators / Ruth Lingford & Tim Webb -- Oswiecim/Auschwitz : the shooting goes on... / Mira Hamermesh -- Seeing and hearing for ourselves : the spectacle of reality in the Holocaust documentary / Elizabeth Cowie -- Section 4. The Holocaust in feature films -- An overview of Hollywood cinema's treatment of the Holocaust / Trudy Gold -- Escape from Sobibor : a film made for television depicting the mass escape from Sobibor Extermination Camp / Jack Gold -- The Holocaust, film and education / Ian Wall -- Young people's viewing of Holocaust films in different cultural contexts / Anna Reading -- Living with the long journey : Alfred Radok's Daleka Cesta / Jiri Cieslar -- Double memory : the Holocaust in Polish film / Ewa Mazierska -- For the few, not the many : delusion and denial in Italian Holocaust films / Giacomo Lichtner -- The survivors' right to reply / Trudy Gold ... [et al.] -- Section 5. Legacy and other genocides -- Human Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators Hornshøj-Møller, Stig and Culbert, David. "Der Ewige Jude" (1940): Joseph Goebbels' Unequaled Monument To Anti-Semitism." Historical Journal of Film, Radio and Television 1992 12(1): 41-67. "Der Ewige Jude (1940), which was directed by Fritz Hippler, is often considered as the Nazi propaganda film designed to prepare German viewers for the genocide of the Jews. This ultimate anti-Semitic film largely owed its origins and development to Nazi Propaganda Minister Joseph Goebbels. For the most part, the German public disdained the film and often left the cinema before the performance was complete." [Historical Abstracts] Kimmel, Daniel M. "Goebbels' work." (Joseph Goebbels' Der ewige Jude) Film Comment Dec 1986 v22 p74(2) Vande Winkel, Roel "Nazi Germany's Fritz Hippler, 1909-2002." Historical Journal of Film, Radio and Television 23,2 (2003) 91-99 UC users only Walker, G. "An analysis of Der Ewige Jude: its relationship to Nazi Anti-Semitic ideas and policies." Wide Angle; Vol.III nr.4 (1980); p.48-53 Welch, David. ""Jews Out!" Anti-Semitic Film Propaganda In Nazi Germany And The "Jewish Question."" British Journal of Holocaust Education [Great Britain] 1992 1(1): 55-73. "Examines the Nazi government's use of cinema to convince Germans that a so-called "Jewish problem" existed and that a solution was needed, thereby justifying the Third Reich's anti-Jewish measures. Three of the most notorious films were Die Rothschilds, Jud S?ss, and Der Ewige Jude, all made in 1940." [Historical Abstracts] Winkel, R. V. "Nazi Germany's Fritz Hippler, 1909-2002." Historical Journal of Film, Radio and Television, vol. 23, no. 2, pp. 91-99, June 2003 UC users only " This article examines the life of Fritz Hippler, who died in May 2002 in Berchtesgaden after a long illness. The German press paid little attention to his death nor did the international press pay much attention. Searching the Internet six months after his death for obituaries on Hippler, the author found only a handful of German entries maintained on one hand by right-wing parties and neo-Nazis and, on the other, by anti-Fascist groups. Hippler was a controversial person. His name appears in many books related to the historiography of Third Reich cinema, where his name is mentioned in passing, as the director of the infamous anti-Semitic feature-length documentary Der ewige Jude (The Wandering Jew, 1940). However, apart from some autobiographical works, the first monograph dedicated entirely and solely to Hippler has yet to be written. This is odd, the author believes, because he was not a minor figure in the history of National Socialist filmmaking. This article traces his life and work, including Hippler's own attempts a few years before his death, to acknowledge that The Wandering Jew was one piece in a long string of anti-Semitic mistakes, although he never took personal responsibility regarding its production." [Communication Abstracts] Funny Girl Goldman, Herbert G. Fanny Brice: The Original Funny Girl / Herbert G. Goldman. New York: Oxford University Press, 1992. UCB Main PN2287.B69 G65 1992 Grossman, Barbara Wallace Funny Woman: The Life and Times of Fanny Brice / Barbara W. Grossman. Bloomington: Indiana University Press, c1991. UCB Main PN2287.B69 G76 1991 Katkov, Norman. The Fabulous Fanny; The Story of Fanny Brice. [1st ed.] . New York, Knopf, 1953. NRLF B 3 571 195 Styne, Jule Funny Girl, A New Musical. Book by Isobel Lennart from an original story by Miss Lennart. Lyrics by Bob Merrill. New York, Random House [1964]. UCB Music ML50.S84 F8 Styne, Jule [Funny girl. Vocal score.] Funny Girl / music by Jule Styne; lyrics by Bob Merrill; book by Isobel Lennart, based on her original story; vocal score; piano reduction by Robert H. Noeltner. New York: Chappell-Styne and Wonderful Music Corp.; sole agent, Chappell & Co., c1964. UCB Music M1503.S786 F9 The Garden of the Finzi-Continis Gentleman's Agreement Campbell, R. "The Ideology of the Social Consciousness Movie: Three Films of Darryl F. Zanuck."Quarterly Review of Film Studies III/1, Winter 78; p.49-71. Examines the function of ideology and the social consciousness film in Hollywood, with special reference to "The grapes of wrath", "Gentleman's Agreement", and "Pinky" - all produced by Zanuck. Custen, George F. "Over 50 years, a landmark loses some of its luster: in 1947, 'Gentleman's Agreement' seemed a brave attack on anti-Semitism, but other Zanuck films have aged better." (film producer Darryl F. Zanuck) The New York Times Nov 16, 1997 v147 s2 pAR19(N) pAR19(L) col 1 (34 col in) Gordon, A. "A-Z of Cinema: J for Jewish - Key Films - 'Gentleman's Agreement'"Sight and Sound 7: (3) 28-28 Mar. 1997 " The Jewish community has long been a powerful force in American cinema. Over the years, numerous motion pictures have been made by, with or about Jews. Major films about the Jewish people include 'The Jazz Singer,' 'Gentleman's Agreement,' 'One of Us' and 'Schindler's List.' Jews who have achieved success in the film industry include movie mogul Louis B. Mayer, comedian Mel Brooks, actress Molly Picon and composer Erich Korngold." [Expanded Academic Index] Weber, Donald "The limits of empathy: Hollywood's imagining of Jews ca. 1947." In: Key texts in American Jewish culture / edited by Jack Kugelmass. New Brunswick, N.J.: Rutgers University Press, c2003. UCB Main Stack E184.35.K49 2003 The Goldbergs (TV/Radio) Brook, Vincent "The Americanization of Molly: how mid-fifties TV homogenized The Goldbergs (and got "Berg-larized" in the process)." Cinema Journal v. 38 no. 4 (Summer 1999) p. 45-67 UC users only Brook, Vincent. "From the Cozy to the Carceral: Trans-Formations of Ethnic Space in The Goldbergs and Seinfeld."Velvet Light Trap. 44:54-67. 1999 Fall Brook, Vincent. Something ain't kosher here : the rise of the "Jewish" sitcom New Brunswick, N.J. : Rutgers University Press, c2003. MAIN: PN1992.8.J48 B76 2003 Weber, Donald. "The Jewish-American World of Gertrude Berg: The Goldbergs on Radio and Television." In: Talking back: images of Jewish women in American popular culture." / edited by Joyce Antler. pp: 85-99 Hanover, NH: Brandeis University Press, published by University Press of New England, c1998. Brandeis series in American Jewish history, culture, and life. Main Stack E184.J5.T25 1998 Weber, Donald. "Memory and Repression in Early Ethnic Television: The Example of Gertrude Berg and TheGoldbergs." In: The other fifties: interrogating midcentury American icons / edited by Joel Foreman. pp: 144-67. Urbana: University of Illinois Press, c1997. Main Stack E169.12.F67 1997 The Golem Bloch, Chajim. The Golem: Legends of the Ghetto of Prague / by Chayim Bloch; translated from the German by Harry Schneiderman; with prefatory note by Hans Ludwig Held. Vienna, Austria: The Golem, c1925. UCB Main BM755.J8 B5513 1925 Byrne, Richard B. Films of Tyranny; Shot Analyses of The Cabinet of Dr. Caligari, The Golem [and] Nosferatu [by] Richard B. Byrne. [Madison, Wis., College Print. & Typing Co., 1966]. UCB Main PN1997.A1 B9 Davidowicz, Klaus Samuel "From myth to film epic; Paul Wegener's Golem." In: Jews and film = Juden und Film : Vienna, Prague, Hollywood / hrsg. von = edited by Eleonore Lappin. pp: 70-87. Wien : Mandelbaum : Institut fur Geschichte der Juden in Osterreich, [2004] Main Stack PN1995.9.J46.J49 2004 Davidson, Jane P. "Golem - Frankenstein - Golem of Your Own." Journal of the Fantastic in the Arts, vol. 7 no. 2-3 (26-27). 1996. pp: 228-43. Goldsmith, Arnold L. The Golem Remembered, 1909-1980: Variations of a Jewish Legend / by Arnold L. Goldsmith. Detroit: Wayne State University Press, 1981. UCB Main PN57.G56 .G6 Friedman, Lester D. "The Edge of Knowledge: Jews as Monsters Jews as Victims." MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States, vol. 11 no. 3. 1984 Fall. pp: 49-62. Idel, Moshe Golem: Jewish Magical and Mystical Traditions on the Artificial Anthropoid / Moshe Idel. Albany, N.Y.: State University of New York Press, c1990. Series title: SUNY series in Judaica. UCB Main BM531 .I34 1990 Meyrink, Gustav. The Golem / Gustav Meyrink; translated by Mike Mitchell and with an introduction and chronology by Robert Irwin. Sawtry, Cambs: Dedalus; Riverside, CA: Ariadne, 1995. UCB Main PT2625.E95 G6213 1995 Winkler, Gershon. The Golem of Prague: A New Adaption of the Documented Stories of the Golem of Prague / with an introductory overview by Gershon Winkler; illustrated by Yochanan Jones. New York: Judaica Press, 1980. UCB Main BM755.J8 .W56 Wolitz, Seth L. "The Golem (1920): An Expressionist Treatment." In: Passion and Rebellion: The Expressionist Heritage / edited by Stephen Eric Bronner & Douglas Kellner. pp: 384-397. South Hadley, Mass.: J.F. Bergin, 1983. Hate (La Haine) Beugnet, Martine "French Cinema of the Margins." In: European cinema / edited by Elizabeth Ezra. Oxford : New York : Oxford University Press, c2004. Main Stack PN1993.5.E8.E96 2004 Moffitt PN1993.5.E8.E96 2004 PFA PN1993.5.E8.E96 2004 Conley, Tom "A Web of Hate." South Central Review, vol. 17, no. 3, pp. 88-103, Fall 2000 UC users only Denby, David. "La Haine." (movie reviews) New York v29, n6 (Feb 12, 1996):53. Doughty, Ruth; Griffiths, Kate "Racial reflection: La Haine and the art of borrowing." Studies in European Cinema 3, Issue: 2 November 2006, 117-127 UC users only Elstob, Kevin. "Hate." (movie reviews) Film Quarterly v51, n2 (Winter, 1997):44 (6 pages). UC users only "Mathieu Kassovitz's Hate portrays serious problems in French society and tries to come to terms with the social tensions ravaging the working-class suburbs of France's big cities. Hate, which is based on actual standoffs between the police and young people, is a persuasive and sophisticated film full of humor and irony contained within a markedly tragic framework." [Art Index] "Hate." (movie reviews) New York Times v145 (Fri, Feb 9, 1996):C21(L), col 1, 12 col in. Higbee, Will "The Return of the Political, or Designer Visions of Exclusion? The Case of Mathieu Kassovitz's fracture sociale Trilogy." Studies in French Cinema, vol. 5, no. 2, pp. 123-35, 2005 UC users only Higbee, William. "The return of the political, or designer visions of exclusion? The case for Mathieu Kassovitz's 'fracture sociale' trilogy." Studies in French Cinema; 2005, Vol. 5 Issue 2, p123-135, 13p UC users only Higbee, William. "Screening the "Other" Paris: Cinematic Representations Of the French Urban Periphery In La Haine and Ma 6-T Va Crack-Er." Modern and Contemporary France [Great Britain] 2001 9(2): Jäckel, Anne "The Subtitling of La Haine: A Case Study." In: James, Caryn. "Hate." (movie reviews) New York Times v145 (Thu, Oct 12, 1995):B2(N), C20(L), col 3, 14 col in. Johnson, Brian D. "La Haine." (movie reviews) Maclean's v109, n11 (March 11, 1996):60. Joicey, Nicholas. "La Haine." (movie reviews) World Press Review v43, n2 (Feb, 1996):44A. Kaufmann, Stanley. "Hate." (movie reviews) New Republic v214, n9 (Feb 26, 1996):29. Kermode, Mark and Geoffrey Macnab. "La Haine." Sight and Sound. Jun 1996. Vol. 6, Iss. 6; p. 58 (1 page) Klawans, Stuart. "Hate." (movie reviews) Nation v262, n7 (Feb 19, 1996):35 (2 pages). Lee, Nam. "La Haine/La Reine Margot." Quarterly Review of Film and Video. 2008. Vol. 25, Iss. 2; p. 178 Loshitzky, Yosefa "The Post-Holocaust Jew in the Age of Postcolonialism: La Haine Revisited." Studies in French Cinema, vol. 5, no. 2, pp. 137-47, 2005 UC users only Morgenstern, Joe. "Hate." (movie reviews) Wall Street Journal (Fri, Feb 9, 1996):A10(W), A12(E), col 2, 6 col in. Naficy, Hamid. An accented cinema : exilic and diasporic filmmaking / Hamid Naficy. Princeton, N.J. : Princeton University Press, c2001. Anthropology PN1993.5.D44.N34 2001 Main Stack PN1993.5.D44.N34 2001 PFA PN1993.5.D44.N34 2001 Oscherwitz, Dayna "La Haine/Hatred." In: The cinema of France / edited by Phil Powrie. London ; New York : Wallflower, 2006. Main Stack PN1993.5.F7.C56 2006 Reynaud, Berenice "Le 'hood." Film Comment v. 32 (March/April 1996) p. 54-8 UC users only "Mathieu Kassovitz's Hate (La Haine, 1995) is the best of what could be a new cinematic genre called banlieue, which relates to French suburbs that are a dumping ground for the working poor. Unlike previous banlieue films, new ones are typically shot from the point of view of their young protagonists, and the city has become antagonistic and foreign. Hate is a searingly original foray into the angst, anger, and powerlessness of three young men from the banlieue who uneasily attempt to deal with a barred future, police brutality, and the tempting yet prohibited proximity of Paris. As in American 'hood movies, Hate's purpose is obviously to demarcate an area--urban, social, symbolic, and filmic--for disenfranchised young males." [Art Index] Reader, Keith "After the Riot." Sight and Sound, vol. 5, no. 11, pp. 12-14, November 1995 Rose, Sven-Erik "Mathieu Kassovitz's La Haine and the Ambivalence of French-Jewish Identity." French Studies: A Quarterly Review, vol. 61, no. 4, pp. 476-91, October 2007 UC users only Romney, Jonathan. "La Haine." (movie reviews) New Statesman & Society v8, n379 (Nov 17, 1995):34. Sadock, Johann "L'Origine dévoilée du discours sur la violence et sur les relations interethniques dans le cinéma de Kassovitz." Contemporary French and Francophone Studies, vol. 8, no. 1, pp. 63-73, Winter 2004 Schroeder, Erin "A Multicultural Conversation: La Haine, Raď, and Menace II Society." Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 46, pp. 143-79, 2001 UC users only "Part of a special issue on marginality and alterity in New European cinema. The writer interrogates striking commonalties in three films: Menace II Society, directed by Albert and Allen Hughes; Rai, by Thomas Gilou; and La Haine, by Matthieu Kassovitz. These films deal with young male communities and similar modes of representing urban space, using figures of circulation and containment. They articulate the style and flavor of their communities through contemporary popular cultures, comment on a longer history of successive generations, and offer a reading of future possibilities. They also share certain exclusions, most significantly women, who recur as props for male protagonists who survey and contain them. While the multilayered story of Rai makes visible the excluded urban spaces of contemporary France and the intergenerational dynamics that form the daily lives of its protagonists, La Haine is consumed by its representational strategies. Menace II Society mobilizes the notion of alternative strategies of narration and cinematography, only to abandon them at key moments." [Art Index] Sharma, Sanjay; Sharma, Ashwani "'So Far So Good ...': La Haine and the Poetics of the Everyday." Theory, Culture & Society, vol. 17, no. 3, pp. 103-16, June 2000 UC users only Strand, Dana "'Documenting' the National Past in French Film." Pacific Coast Philology, vol. 39, pp. 20-28, 2004 Travers, Peter. "Hate." (movie reviews) Rolling Stone, n728 (Feb 22, 1996):70. Van Kelly "Introduction: Cinéma Engagé: Activist Filmmaking in French and Francophone Contexts." South Central Review Vol. 17, No. 3, (Autumn, 2000), pp. 1-6 UC users only Vincendeau, Ginette "Designs on the Banlieue: Mathieu Kassovitz's La Haine (1995)." In: French film: texts and contexts / edited by Susan Hayward and Ginette Vincendeau. 2nd ed. pp: 227-39. London; New York: Routledge, 2000. Main Stack PN1993.5.F7.F74 2000 Vincendeau, Ginette La Haine : French Film Guide I. B. Tauris & Company, Limited, 2005 Full-text of this book available online via ebrary [UC Berkeley users only] Vincendeau, Ginette La Haine Urbana : University of Illinois Press, c2005. MAIN: PN1997.H246 V56 2005; View current status of this item Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012914.html Westbrook, John. "La Haine." Historical Journal of Film, Radio, and Television. Oct 2007. Vol. 27, Iss. 4; p. 573 Zacks, Stephen "La haine, or culture wars in Paris." In: African images: recent studies and text in cinema / edited by Maureen Eke, Kenneth W. Harrow,... 1st Africa World Press, Inc... Trenton, NJ: Africa World Press, c2000. Annual selected papers of the ALA ; no. 8 Main Stack PN1993.5.A35.A372 2000 Zisserman, Katya; Nettelbeck, Colin "Social Exclusion and Artistic Inclusiveness: The Quest for Integrity in Mathieu Kassovitz's La Haine." Nottingham French Studies, vol. 36, no. 2, pp. 83-98, Fall 1997 Hester Street Blacker, Irwin R. "From Hester Street to Hollywood: the Jewish-American State and Screen." Brown, Geoff "Hester Street." (movie reviews) Sight & Sound; Vol.XLV nr.1 (Winter 1975-76); p.58 Cohen, Sarah Blacher (ed.) From Hester Street to Hollywood: The Jewish-American Stage and| Screen. Bloomington: Indiana UP, 1983. Main Stack PN3035.F76 1983 Moffitt PN3035.F76 1983 Friedman, S.; Steinberg, S. "Hester Street. The politics of culture." Jump Cut; nr.12-13 (1976); p.33-34 Green, L. "Hester Street." (movie reviews) Films & Filming; Vol.XXII nr.4 (Jan 1976); p.34-35 "Hester Street." (movie reviews)Los Angeles Times v102, secB (Sun, July 3, 1983):4, col 1, 2 col in. "Hester Street." (movie reviews)The New Republic v 173 Oct 18 1975. p. 21 "Hester Street." (movie reviews)New York Times, Oct 20, 1975, p44 "Hester Street." (movie reviews)New York Times, Nov. 2, 1975, II, pg 15 "Hester Street." (movie reviews)New Yorker, Nov. 24, 1975 v51, pg 167 "Hester Street." (movie reviews)Newsweek, Nov. 3, 1975, pg 87-88 "Hester Street." (movie reviews) The New Yorker v 51 Nov 24 1975. p. 167 "Hester Street." (movie reviews)Saturday Review, Nov. 15, 1975, v2, pg 41 "Hester Street." (movie reviews)Time, Oct. 27, 1975, v106, pp 73-74 Marovitz, Sanford E. "Hester Street and The Imported Bridegroom: Feminist Cinematic Adaptations of Two Works by Abraham Cahan." Yiddish, 1999, 11:3-4, 1-14. Michel, Sonya. "Yekl and Hester Street: Was Assimilation Really Good for the Jews?" Literature/Film Quarterly vol. 5, 1977: 142-46 Silver, J.M.; Silver, R. "On Hester Street." American Film; Vol.I nr.1 (Oct 1975); p.78-79 The director and producer of 'Hester Street' discuss the pre-production and eventual filming of their first feature. Van Gelder, Lawrence. "Hester Street." (video-tape reviews) New York Times v134, sec2 (Sun, Dec 9, 1984):H34(N), H34(L), col 6, 4 col in. Michel, S. "'Yekl' and 'Hester Street': was assimilation really good for the Jews?" Literature/Film Quarterly; Vol.V nr.2 (Spring 1977); p.142-146 Discusses "Hester Street" in terms of its faithfulness to its source, Abraham Cahan's story 'Yekl, a tale of the ghetto'. The Jazz Singer Cieutat, Michel "Le Juif selon Hollywood (de The jazz singer, 1927 ? Yentl, 1981)." CinemAction; nr.37 (Feb 1986); p.82-93 Describes the pre-1960's difficulty of presenting a film with a blatantly Jewish theme, and the efforts of US Jewish filmmakers to resist the assimilation expected of them by Hollywood. Crafton, Donald. "The Jazz Singer's Reception in the Media and at the Box Office." Post-Theory: Reconstructing Film Studies / edited by David Bordwell and Noel Carroll. pp: 460-80. Madison: University of Wisconsin Press, c1996. Wisconsin studies in film Main Stack PN1994.P6565 1996 Gabbard, Krin. "The Ethnic Oedipus: The Jazz Singer and Its Remakes." Play It Again, Sam: Retakes on Remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 95-114. Berkeley: University of California Press, c1998. Main Stack PN1995.9.R45.P58 1998 Goldman, Eric Arthur "The Jazz Singer" and its reaction in the Yiddish cinema." In: When Joseph met Molly : a reader on Yiddish film / edited by Sylvia Paskin. Nottingham : Five Leaves, 1999. Main Stack PN1995.9.Y54.W44 1999 Greenblum, Joseph. "Does Hollywood Still Glorify Jewish Intermarriage? The Case Of The Jazz Singer." American Jewish History 1995 83(4): 445-469. "Compares the film The Jazz Singer produced in 1927 by Warner Brothers and starring Al Jolson with the 1980 Neil Diamond version, and the cinematic treatment of Jewish intermarriage and assimilation. As the first successful feature film with sound dialogue, the Jolson version presented viewers with the conflicts of interfaith romantic relationships, intermarriage as an element of Jewish Americanization, and career choices that override Jewish commitments. Although a commercial failure, the 1980 version clearly exemplified a shift from assimilation to pride in religious identity. The gentile in the 1980 remake accepted her partner's Jewishness and served as a catalyst in restoring the relationship of Jewish father and son." [from ABC-CLIO America: History & Life] The Jazz Singer Edited with an introd. by Robert L. Carringer. Madison: Published for the Wisconsin Center for Film and Theater Research by the University of Wisconsin Press, 1979. Series title: Wisconsin/Warner Bros. screenplay series. UCB Main PN1997.J353 .J3 Knapp, Jeffrey. "Sacred Songs Popular Prices": Secularization in The Jazz Singer. Critical Inquiry, Winter2008, Vol. 34 Issue 2, p313-335, 23p Perlmutter, Ruth "The Melting pot and the Humoring of America: Hollywood and the Jew." Film Reader /5, 82; p.247-256. bibliogr. Examines Jewish ambivalence towards assimilation in US society, as shown in the films of Chaplin, the Marx Brothers, and "The jazz singer". Raphaelson, Samson. The Jazz Singer / by Samson Raphaelson. New York: S. French, 1935. UCB Main PS3535.A66 J39 1935 Rogin, Michael Paul "Black sacrifice, Jewish redemption; from Al Jolson's "Jazz Singer" to John Garfield's "Body and Soul"." In: African Americans and Jews in the twentieth century : studies in convergence and conflict / edited by V.P. Franklin ... [et al.]. pp: 87-101. Columbia, Mo. : University of Missouri Press, c1998. Main Stack E184.36.A34.A47 1998 Rogin, Michael Blackface, White noise: Jewish immigrants in the Hollywood Melting Pot / Michael Rogin. Berkeley: University of California Press, c1996. (SEE ALSO: review of this work by Frank Manchel) Main Stack PN1995.9.N4.R64 1996 Moffitt PN1995.9.N4.R64 1996 Rogin, Michael. "Blackface, white noise: the Jewish jazz singer finds his voice." Critical Inquiry v18, n3 (Spring, 1992):417 (37 pages). 'The Jazz Singer,' the first talking motion picture, uses blackface to negotiate the Americanization of the immigrant Jew. The film recapitulates the history of popular entertainment from minstrelsy, vaudeville and silent pictures to talking pictures. Intergenerational conflict within the Jewish immigrant family is also depicted. The use of blackface represents a doubling of the self, access to emotion and feminization. Through blackface, the racial stigma of Jewishness is externalized and transcended. Rogin, Michael. "Making America Home: Racial Masquerade and Ethnic Assimilation in the Transition to Talking Pictures." The Journal of American History. Dec 1992. Vol. 79, Iss. 3; p. 1050 (28 pages) UC users only Rogin, Michael. "The Two Declarations of American Independence." Representations vol. 55. 1996 Summer. pp: 13-30. Rosenberg, Joel"Rogin's Noise: The Alleged Historical Crimes of The Jazz Singer." Prooftexts: A Journal of Jewish Literary History, vol. 22, no. 1-2, pp. 221-39, January 2002 UC users only Rosenberg, Joel"What You Ain't Heard Yet: The Languages of The Jazz Singer." Prooftexts, Winter2002, Vol. 22 Issue 1/2, p11, 44p UC users only Saposnik, Irv "Jolson, the Jazz Singer and the Jewish mother: or how my Yiddishe momme became my mammy."Judaism: A Quarterly Journal of Jewish Life and Thought Fall 1994 v43 n4 p432(11) UC users only "Al Jolson, star of the 'The Jazz Singer,' was one of the most prominent Jewish-American performers of his time. His music, celebrated in the landmark film which ushered in the era of sound in the movies, mixed the spirit of the jazz age with a sentiment that was very distinctively Jewish. His classic film thus provides a unique insight into the nuances of Yiddish American culture and the manner it was amalgamated into the popular culture of Jolson's time." [Expanded Academic Index] Telotte, J. P. "The Movie Musical and What We 'Aint Heard' Yet." Genre: Forms of Discourse and Culture, vol. 14 no. 4. 1981 Winter. pp: 505-535. Willis, Corin "Meaning and Value in The Jazz Singer." In: Style and meaning : studies in the detailed analysis of film / edited by John Gibbs and Douglas Pye. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2005. Main Stack PN1995.S778 2005 Wolfe, Charles. "Vitaphone Shorts and The Jazz Singer." Wide Angle vol. 12 no. 3. 1990 July. p: 58-78. Jud Süß Program Notes on Jud Süß (German Propaganda Archive, Calvin University) Dukes, Ashley. Jew Suss, A Drama in Five Acts Based upon Power, The Historical Romance ofLion Feuchtwanger, by Ashley Dukes. New York, The Viking Press [1930]. NRLF PR6007.U4 J4 NRLF B 3 346 269 Feuchtwanger, Lion Power. Translated by Willa and Edwin Muir. New York, Viking Press, 1927 [c1926]. UCB Grad Svcs XMAC.M953.P63 Modern Authors Collection UCB Main PT2611.E85 J713 1927 Friedman, Regine Mihal. "Male Gaze and Female Reaction: Veit Harlan's Jew Suss (1940) German Film History/German History on Film." Gender and German Cinema: Feminist Interventions, Part II / edited by Sandra Frieden ... [et al.]. pp: 117-33. Providence: Berg, 1993. Main Stack PN1993.5.G3.G357 1993 Library has: v.1-2 (1993) Giesen, Rolf. Hitlerjunge Quex, Jud Suss und Kolberg : die Propagandafilme des Dritten Reiches : Dokumente und Materialien zum NS-Film Berlin : Schwarzkopf & Schwarzkopf, 2005. MAIN: PN1995.9.N36 G53 2005 Holocaust and the moving image : representations in film and television since 1933 Edited by Toby Haggith & Joanna Newman. London ; New York : Wallflower, 2005. Description xxiii, 317 p. : ill. ; 24 cm. Main Stack PN1995.9.H53.H65 2005 Section 1. Film as witness -- Film and the making of the Imperial War Museum's Holocaust exhibition / Suzanne Bardgett -- Preparing the video displays for the Imperial War Museum's Holocaust exhibition / Annie Dodds -- Filming the liberation of Bergen-Belsen / Toby Haggith -- Separate intentions : the Allied screening of concentration camp documentaries in defeated Germany in 1945-46 : Death mills and Memory of the camps / Kay Gladstone -- A witness to atrocity : film as evidence in international war crimes tribunals / Helen Lennon -- Section 2. Film as propaganda -- Veit Harlan's Jud Suss / Susan Tegel -- Fritz Hippler's The eternal Jew / Terry Charman -- Film documents of Theresienstadt / Lutz Becker -- Terezin : the town Hitler gave to the Jews / Zdenka Fantlova-Ehrlich -- The Ministry of Information and anti-Fascist short films of the Second World War / Matthew Lee -- Fighting the government with its own propaganda : the struggle for racial equality in the USA during the Second World War / Stephen Tuck -- Section 3. The Holocaust documentary in film and television -- Nuit et Brouillard : a turning point in the history and memory of the Holocaust / Christian Delage -- Baggage and responsibility - The world at war and the Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators / Ruth Lingford & Tim Webb -- Oswiecim/Auschwitz : the shooting goes on... / Mira Hamermesh -- Seeing and hearing for ourselves : the spectacle of reality in the Holocaust documentary / Elizabeth Cowie -- Section 4. The Holocaust in feature films -- An overview of Hollywood cinema's treatment of the Holocaust / Trudy Gold -- Escape from Sobibor : a film made for television depicting the mass escape from Sobibor Extermination Camp / Jack Gold -- The Holocaust, film and education / Ian Wall -- Young people's viewing of Holocaust films in different cultural contexts / Anna Reading -- Living with the long journey : Alfred Radok's Daleka Cesta / Jiri Cieslar -- Double memory : the Holocaust in Polish film / Ewa Mazierska -- For the few, not the many : delusion and denial in Italian Holocaust films / Giacomo Lichtner -- The survivors' right to reply / Trudy Gold ... [et al.] -- Section 5. Legacy and other genocides -- Human Holocaust / Michael Darlow -- The Nazis : a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence : the role of the animators Rawlinson, Arthur. Jew Suss: [scenario] / Arthur Rawlinson and Dorothy Farnum. New York: Garland Pub., 1978. Series title: The Garland classics of film literature. UCB Main PN1997 .J445 1978 Schulte-Sasse, Linda "Courtier, Vampire, or Vermin? Jew Suss's Contradictory Effortto Render the 'Jew' Other." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 184-220.New York: G.K. Hall; London: Prentice Hall International, c1996.Perspectives on film. Main Stack PN1993.5.G3.P42 1996 Schulte-Sasse, Linda "The Jew as Other under National Socialism: Veit Harlan's Jud S?ss." German Quarterly, vol. 61, no. 1, pp. 22-49, Winter 1988 UC users only Sheffi, Na'ama "Jews, Germans and the representation of Jud Suss in literature and film." Jewish Culture and History 6,2 (2003) 25-42 "Veit Harlan's Jud Suss was intended to condition the German people ideologically for the "final solution." Yet the film must be seen in a broader context if its appeal as an anti-Semitic text is to be fully grasped. Its emotional impact stems largely from the fact that in its basic scenario and sociological coding, it is indebted to the eighteenth-century bourgeois tragedy. Jud S??, however, locates the source of social strife not primarily in the aristocracy but in the Jew, thus shifting the bourgeois tragedy's critique of an authoritarian structure to one that perceives evil as outside the system. By interweaving central myths surrounding European Jewry with an antiabsolutist scenario, the film reinterprets the emancipatory social program of the bourgeois tragedy, demonstrating instead the fundamental, biological otherness of the Jew." [JSTOR] Tegel, Susan. ""The demonic effect": Veit Harlan's use of Jewish extras in 'Jud Suss', 1940." (Shedding light on German state-commissioned anti-Semitic propaganda films) Holocaust and genocide studies. 14 (2): 215-241 FAL 2000 "Veit Harlan, director of the notorious anti-Semitic film Jud Suss (1940), was the only film director of the Third Reich to be tried for crimes against humanity. Of particular interest to the prosecutor was the role of the SS in recruiting Jewish extras for some scenes. Determined to depict German Jews as Ostjuden (eastern Jews) in a film justifying their expulsion from Germany, Harlan sought extras first in Lublin in January 1940 and then in Prague in March of the same year. Perhaps because Harlan was eventually acquitted, their use has attracted little scholarly attention, but it does shed light on the making of state-commissioned propaganda on the Jewish question." [Historical Abstracts] Tegel, Susan. "Jud Suss." Historical Journal of Film, Radio and Television 25,1 (2005) 155-161. UC users only Tegel, Susan. "The Politics of Censorship: Britain's "Jew Suss" (1934) in London, New York and Vienna." Historical Journal of Film, Radio and Television v15, n2 (June, 1995):219 (26 pages). UC users only Tegel, Susan. "Veit Harlan and the origins of "Jud Suss", 1938-1939; opportunism in the creation of Nazi anti-Semitic film propaganda." Historical Journal of Film, Radio and Television 16,4 (1996) 515-531 Veit Harlan was not the only one responsible for the production of the most successful anti-Semitic film by the German film industry, 'Jud Suss.' It was, more or less, based on the book by Wilhelm Hauff and made in response to the general directive from the Nazi Propaganda Ministry. Ludwig Metzger suggested its making to the Ministry and he, Peter-Paul Brauer and Harlan were the main agents who got the project off the ground. Their testimonies at the war crime trials attest to the self-serving opportunism that motivated the making of the film. Tegel, Susan. "Veit Harlan's Jud S?ss." In: Holocaust and the moving image : representations in film and television since 1933 Edited by Toby Haggith & Joanna Newman. London ; New York : Wallflower, 2005. Description xxiii, 317 p. : ill. ; 24 cm. Main Stack PN1995.9.H53.H65 2005 Weinstein, Valerie "Dissolving Boundaries: Assimilation and Allosemitism in E.A. Dupont's Das alte Gesetz (1923) and Veit Harlan's Jud S?ss (1940)." German Quarterly, vol. 78, no. 4, pp. 496-516, Fall 2005 Welch, David. ""Jews Out!" Anti-Semitic Film Propaganda In Nazi Germany And The "Jewish Question."" British Journal of Holocaust Education [Great Britain] 1992 1(1): 55-73. "Examines the Nazi government's use of cinema to convince Germans that a so-called "Jewish problem" existed and that a solution was needed, thereby justifying the Third Reich's anti-Jewish measures. Three of the most notorious films were Die Rothschilds, Jud S?ss, and Der Ewige Jude, all made in 1940." [Historical Abstracts] Judgment at Nurember Blumenthal-Barby, Martin. "Understanding the Non-Understandable: Stanley Kramer's Judgment at Nuremberg." In: The image of the hero in Literature, Media, and Society: selected papers [of the] Society for the Interdisciplinary Study of Social Imagery, March 2004, Colorado Springs, Colorado. Pueblo, CO. : The Society, Colorado State University-Pueblo, [2004]. MAIN: PN56.5.H45 C63 2004 Celluloid power : social film criticism from The birth of a nation to Judgment at Nuremberg [edited] by David Platt. Metuchen, N.J. : Scarecrow Press, 1992. Main Stack PN1995.9.P6.C44 1992 Moffitt PN1995.9.P6.C44 1992) Doherty, T. "Judgment at Nuremberg." Cineaste v. 30 no. 2 (Spring 2005) p. 57-9 UC users only < Insdorf, Annette. "The Hollywood Version of the Holocaust." In: Indelible shadows : film and the Holocaust Cambridge ; New York : Cambridge University Press, 2003. MAIN: PN1995.9.H53 I57 2003 PFA : PN1995.9.H53 I57 2003) Mintz, Alan L. "Judgement at Nuremberg (1961)" In: Popular culture and the shaping of Holocaust memory in America Seattle : University of Washington Press, c2001. MAIN: D804.45.U55 P67 2001 Spoto, Donald. Stanley Kramer, film maker New York : Putnam, c1978 MAIN: PN1998.A3 .K725 1978 Life Is Beautiful Alleva, Richard. "Nothing to laugh about." (movie on Holocaust entitled 'Life Is Beautiful') Commonweal v136, n6 (March 26, 1999):18 (2 pages). UC users only "'Life Is Beautiful' is a critically acclaimed Italian comedy that deals with the Holocaust. The movie, directed by Roberto Benigni, succeeded in presenting the Holocaust in an agreeable way. The trouble is that despite the light depiction of the Holocaust, its horrors still cannot be denied. Indeed, one wonders whether there is something to laugh about when scenes of Jews being massacred are flashed on the movie screen." [Expanded Academic Index] Bathrick, David. "Rescreening 'The Holocaust': The Children's Stories." New German Critique: An Interdisciplinary Journal of German Studies. 80: 41-58. 2000 Spring-Summer. Beh-Ghiat, Ruth. "Life is Beautiful" (La vita è bella).(Review) American Historical Review v104, n1 (Feb, 1999):298 (2 pages). UC users only Beh-Ghiat, Ruth. "Life is Beautiful." American Historical Review, Feb99, Vol. 104 Issue 1, p298, 2p UC users only Beh-Ghiat, Ruth. "The Secret Histories of Roberto Benigni's Life Is Beautiful." Yale Journal of Criticism: Interpretation in the Humanities. 14 (1): 253-66. 2001 Spring. UC users only "Roberto Benigni's motion picture 'Life is Beautiful' deconstructs the boundaries between fantasy and reality. Private memory and public history are woven together to present the Holocaust through the lens of comedy as a way to achieve closure." [Expanded Academic Index] Binetti, Vincenzo "On Magic and Autonomy in "Historias mínimas" and "La vita è bella" Discourse: Journal for Theoretical Studies in Media and Culture 28:2-3 (Spring-Fall 2006) p. 130-152 Blake, Richard A. "Genocide Now." (Review)_(movie review) America March 13, 1999 v180 i8 p31 (1404 words) Bruni, Frank "Life is still beautiful; it's just more complicated." (Roberto Benigni) The New York Times Nov 3, 2002 pMT3(N) pMT3(L) col 1 (50 col in) Bullaro, Grace Russo. "Roberto Benigni's Life Is Beautiful and the Protection of Innocence: Fable, Fairy Tale or Just Excuses?." Post Script: Essays in Film and the Humanities. 23 (1): 13-26. 2003 Fall. UC users only "Bullaro analyzes Roberto Benigni'hits "Vita è Bella" ("Life hitIs hitBeautiful"), a drama that garnered much critical attention upon its release in 1997. Many of the negative reviews of the movie sharply reprimanded hitBenigni'hits semi-comedic treatment of the Holocaust. The film depicts an Italian father and son who are sent to a German concentration camp; during their imprisonment, the father shields his hidden son from the horrors of the genocide by pretending that their predicament hitis only a game. Bullaro examines critical reception to the film, both good and bad, as well as the director's defense of his story and approach. Although Benigni explains that he wanted to create a "fable," Bullaro determines that the film hitis more of a fairy tale; unlike a fable, which purports to teach children a lesson, the fairy tale gives children hope for the future and a happy ending. Bullaro concludes that "Vita è Bella" does not succeed as a fairy tale despite its happy ending because the shielded son never comes to face the true, lived experience of evil that existed during the Holocaust." [IIPA] Calhoun, John. "La not so dolce vita." (motion picture 'Life Is Beautiful') Interiors April 1999 v158 i4 p85(2) (878 words) UC users only " Motion picture 'Life is Beautiful' is an Italian tragicomedy about the Holocaust. The film, which garnered awards from the Cannes Film Festival and Academy of Motion Picture Arts and Sciences and is the first foreign-language film to have seven award nominations in the Oscars, is directed, co-written and starred by Roberto Benigni. Among the strengths of the film is its cinematography, direction and production and costume design." [Expanded Academic Index] Celli, Carlo. "The Representation of Evil in Roberto Benigni's Life Is Beautiful." Journal of Popular Film and Television. 28 (2): 74-79. 2000 Summer. UC users only Celli, Carlo. "Comedy and the Holocaust in Roberto Benigni's Life Is beautiful/La vita è bella." In: The changing face of evil in film and television / edited by Martin F. Norden. Amsterdam ; New York, NY : Rodopi, 2007. Main Stack PN1995.9.E93.C43 2007 Cro, Stelio "La vita e bella." (Life is Beatiful). (Critical Essay) American Journal of Italian Studies Spring 1999 v22 i59 p23(6) (2402 words) Denby, David. "Life is Beautiful." (Review) New Yorker v75, n3 (March 15, 1999):96 (3 pages). Denby, David. "Life is Beautiful." (Review) New Yorker v74 (Nov 16, 1998):116 (1 page). Ezrahi DeKoven, Sidra. "After such knowledge, what laughter?" (Interpretation and the Holocaust) The Yale Journal of Criticism Spring 2001 v14 i1 p287(27) "Roberto Benigni's film 'Life is Beautiful' reminds its audience that the comic is a basis for a post-Shoah universe. Comedy is an artificial construct that represents the universe as it should be, so views of the Holocaust should always be in the process of becoming." [Expanded Academic Index] Ferrero-Regis, Tiziana "Rethinking Life is Beautiful (1)." (Film As Text) Australian Screen Education Winter 2003 i33 p105(6) (3778 words) Flanzbaum, Hilene. "'But Wasn't It Terrific?': A Defense of Liking Life Is Beautiful." Yale Journal of Criticism: Interpretation in the Humanities. 14 (1): 273-86. 2001 Spring. UC users only Many film reviewers saw Roberto Benigni's film 'Life is Beautiful' as an inaccurate representation of the Holocaust. Many survivors, aware the Holocaust has become politicized and intellectualized, understand the film is a myth and accepts the limitations of a work of art." [Expanded Academic Index] Gilman, Sander L. "Is Life Beautiful? Can the Shoah Be Funny? Some Thoughts on Recent and Older Films." Critical Inquiry. 26 (2): 279-308. 2000 Winter. UC users only "The meaning of the Jewish Holocaust, or Shoah, has changed in the 50 years since it happened. Portrayals of this period such as Ernest Lubitsch's 'To Be or Not To Be,' the 1960s television comedy 'Hogan's Heroes,' and Roberto Benigni's 'Life is Beautiful' used a version of humor to express the persistence of life and spiritual triumph." [Expanded Academic Index] Glennan, Patrick. "Life Wasn't Quite That Beautiful: Reaction to Roberto Benigni's Life Is Beautiful." Spunti e Ricerche: Rivista d'Italianistica. 17: 86-96. 2002. Gordon, Robert S. C. "Real tanks and toy tanks: playing games with history in Roberto Benigni's La Vita è Bella/Life is Beautiful." Studies in European Cinema, 2005, Vol. 2 Issue 1, p31-44, 14p UC users only Gorin, Julia. "Offended or just confused by 'Life Is Beautiful': rather than stop to think whether this combination of humor and Holocaust works, critics stay on autopilot and shout, 'objection!'." (Column) Christian Science Monitor v91, n78 (Fri, March 19, 1999):11, col 3, 19 col Gruber, Ruth Ellen "Benigni's Corrective Vision." (Review) The New Leader April 5, 1999 v82 i4 p11 (1131 words) UC users only Haskins, Casey. "Art, Morality, and the Holocaust: The Aesthetic Riddle of Benigni's Life Is Beautiful." Journal of Aesthetics and Art Criticism. 59 (4): 373-84. 2001 Fall. UC users only "Issues concerning the moral and ethical aspects of art are discussed with reference to Roberto Benigni's film, Life is Beautiful. The effect of the film which provoked opposing reactions to its treatment of the Holocaust is examined." [Expanded Academic Index] Hoberman, J. "Dreaming the unthinkable: Roberto Benigni's 'Life is Beautiful' transforms the Nazi death camps into absurd comedy through Benigni's role as a fantasising inmate." Sight and Sound (Feb, 1999):20 (4 pages) UC users only "Discusses Roberto Benigni's film "hitLife hitis hitBeautiful" ("La Vita e Bella"), commenting on Begnini's use of comedy in a Holocaust story. Notes it hitis difficult to resist the humor of "the short, balding, sallow, weak-chinned Benigni and compares him to Charlie Chaplin and Woody Allen. Notes the film shows an attempt not just to save a child's hitlife but also to protect his innocence. Speculates whether Benigni has gone "further than he was entitled" by using his father's memory of concentration camps as a basis for his film, stating the film "pays homage to Benigni's capacity for invention, but ultimately the movie hitis made to short-circuit the spectator's imagination."." [IIPA] Kauffmann, Stanley "Stanley Kauffmann on Films Changing the Past." ('Pleasantville' and 'Life is Beautiful') New Republic (Nov 23, 1998):26 (1 page). Kertesz, Imre; John MacKay. "Who owns Auschwitz?" (Interpretation and the Holocaust)(Critical Essay) The Yale Journal of Criticism, Spring 2001 v14 i1 p267(6) "Some Holocaust survivors treat their experience as intellectual property, and this is appropriate when confronting such falsified experience as Steven Spielberg's film 'Schindler's List.' Roberto Benigni's film 'Life is Beautiful' is essentially tragic, and the spirit of the film is completely authentic in presenting an absurd, atrocious world." [Expanded Academic Index] Kertzer, Adrienne. "Like a fable, not a pretty picture: Holocaust representation in Roberto Benigni and Anita Lobel." Michigan Quarterly Review, 2000, Vol. 39 Issue 2, p279-300, 22p Klawans, Stuart. "Life is Beautiful." (Review) Nation v267, n14 (Nov 2, 1998):35 (1 page). Kertzer, Adrienne. "Like a fable, not a pretty picture: Holocaust representation in Roberto Benigni and Anita Lobel." (Secret Spaces of Childhood: Part 1)(Critical Essay) Michigan Quarterly Review Spring 2000 v39 i2 p279(22) "A comparison is made between film director Roberto Benigni's 'Life is Beautiful' and artist Anita Lobel's paintings, focusing on their representations of the Holocaust. Topics include reinterpreting horrific factual events for children's assimilation, and the appropriateness of using humor or beauty to do so." [Expanded Academic Index] Kroll, Pamela L. "Games of Disappearance and Return: War and the Child in Roberto Benigni's Life Is Beautiful." Literature/Film Quarterly. 30 (1): 29-45. 2002. UC users only "Roberto Benigni based his motion picture 'Life Is Beautiful' in part on the experience of his father having been imprisoned in a German labor camp for two years when Italy left the Axis. Benigni's decision to move from representing war to representing the Holocaust changed the film's potential significantly in some critics' views, in such a way as to lose authority and authenticity." [Expanded Academic Index] Lanzoni, Remi. "Life Is Beautiful: When Humor Challenges History." Forum Italicum. 34 (1): 121-35. 2000 Spring. Liebman, Stuart. "If only life were so beautiful." ("Life is Beautiful" motion picture) Cineaste v24, n2-3 (Spring-Summer, 1999):20 (3 pages). UC users only " The motion picture 'Life is Beautiful' is one of the strongest contenders for the Best Foreign Language Film Award at the Academy Awards. It has been nominated for seven major Academy Awards, including Best Actor, Best Director, Best Picture and Best Original Screenplay.' Directed by Roberto Benigni, Life is Beautiful focuses on the struggles of an Italian family during the Holocaust." [Expanded Academic Index] MacCabe, Colin. "Life is Beautiful/La vita e bella." (Review) Sight and Sound (Feb, 1999):46 (1 page). UC users only "Reviews Roberto Benigni's film "hitLife hitis hitBeautiful" ("La vita e bella"), noting his "magnificent film" attempts the impossible by making a comedy out of the Holocaust. Comments that the film's heightened mise en scene make it seem "otherworldly," with the set, costumes and lighting in the film's second half designed to produce a level of abstraction which does nothing to detract from the horror and brutality of the camps. Comments "never has Benigni's mobile face been put to more varied use; never has Nicoletta Braschi been so simply beautiful."" [IIPA] Matthews, Kate "Serious laughter: critics of Life is Beautiful and the question of comedy." (NSW Film As Text)(Critical Essay) Australian Screen Education Autumn 2003 i31 p105(5) (3025 words) Morgenstern, Joe. "Life is Beautiful." (movie reviews) Wall Street Journal (sun, Oct 23, 1998):W9(E), col 1, 7 col in. Niv, Kobi. Life is beautiful, but not for Jews: another view of the film by Benigni / Kobi Niv ; translated from the Hebrew by Jonathan Beyrak Lev. Landham, Md.: Scarecrow Press, 2003. Filmmakers series ; no. 107 Main Stack PN1997.V5373.N5813 2003 On Life Is Beautiful. Yale Journal of Criticism: Interpretation in the Humanities. 14 (1): 253-313. 2001 Spring. Pell, Gregory M. "From Document to Fable: The Simulacrum of History in Mihaileanu, Benigni, and Primo Levi." Forum Italicum. 38 (1): 91-114. 2004 Spring. Rooney, David. "Life is Beautiful. (La Vita e Bella)" (movie reviews) Variety v369, n7 (Dec 22, 1997):61 (1 page). Rothstein, Edward. "Life is Beautiful." (Review) (movie reviews) New York Times v148 (sun, Oct 18, 1998):Ar28(L), col 1, 26 col in. Rothstein, Edward. "Using farce to break the dark spell of fascism." (Roberto Benigni discusses his film, 'Life is Beautiful') New York Times v148 (sun, Oct 18, 1998):AR28(L), col 1, 26 col in. Scott, Ryan "History and memory in Life Is Beautiful." (NSW Film As Text)(Critical Essay) Australian Screen Education Summer 2003 i30 p139(4) (2304 words) Sherman, Jodi "Humor, resistance, and the abject: Roberto Benigni's Life is beautiful and Charlie Chaplin's The great dictator." Film & History Vol XXXII nr 2 (2002); p 72-73. Analyses the use of humour to visually represent the Nazi persecution of the Jews. . UC users only "Roberto Benigni's 1997 film "La vita è bella" ("Life Is Beautiful") functions as a case study on coping with and resisting abjection. Charlie Chaplin's 1940 "The Great Dictator" exposes the interconnectedness of absurdity and humanity as Chaplin reveals the threatening symbolic order of the fascists. Benigni's clown character Guido hitis used to present the balance that exists between wisdom and folly in people, and to provide agency in the concentration camps, thereby resisting the enforced abjection of the Jews there." [IIPA] Siporin, Steve "Life Is Beautiful"; four riddles, three answers." Journal of Modern Italian Studies 7,3 (2002) 345-363 UC users only "Four riddles occur in the dialogue of Roberto Benigni's 1998 film, La vita è bella (Life Is Beautiful). Solutions to the first three are provided almost as soon as they are uttered, but a fourth riddle, spoken at the film's climax, remains unanswered. Exploring possible meanings of the fourth riddle illuminates the film's meaning. Although the riddles may seem to be relatively unimportant bantering between two of the major characters (Guido, the Italian Jew, and Captain Lessing, a German Nazi officer and physician), they are critical to the unfolding of the plot and significant in the portrayal of the two characters who employ them. Most importantly, they act as condensed expressions of the film's themes, complementing and giving deep texture to its narrative expression of the same ideas. Through the riddles and other folk and children's genres - such as game and folktale - La vita è bella asserts not only that art helps us survive, but that the humblest art is the daily weapon against the most formidable attacks on the human spirit." Sklar, Robert. "Life is Beautiful." (Review) Cineaste v23, n4 (Fall, 1998):42 (3 pages). Sklar, Robert. "Life is Beautiful." (Review) Cineaste Fall 1998 v23 i4 p42(3) (2852 words) UC users only Spivey, Ed Jr. "Life Is Beautiful." (Review) Sojourners v28, n3 (May, 1999):62 (1 page). Stone, Marla "Primo Levi, Roberto Benigni, and the politics of Holocaust representation." In: The legacy of Primo Levi / edited by Stanislao G. Pugliese ; illustrated by Antonio Pugliese. New York ; Basingstke : Palgrave Macmillan, 2005. Series Italian and Italian American studies 135-146 Main Stack PQ4872.E8.Z71 2005 Travers, Peter. "Life is Beautiful." (Review) (movie reviews) Rolling Stone, n799 (Nov 12, 1998):122 (1 page). Viano, Maurizio. "Life Is Beautiful: Reception, Allegory, And Holocaust Laughter."Jewish Social Studies 1999 5(3): 47-66. UC users only "Analyzes the content, intentions, and reception of Roberto Benigni's controversial film Life Is Beautiful (1998). The film has largely been misunderstood by high-brow critics whose moral indignation partly grows out of their failure to understand Benigni's motives, their political biases, and a close-minded approach to any of Benigni's films because of their sentimentalism and physical comedy. Benigni is convinced of the redemptive power of laughter, and he sought a subject that would allow him to put a comic in an "extreme situation." Benigni was not exploiting the Holocaust. Rather he wanted to demonstrate that life is beautiful even in oppressive environments. The fairy-tale romance of the first hour was intentionally juxtaposed to the tragedy of the second hour to create a schizophrenic experience for the viewer; an allegory for the "irreconcilable duality in human history." [Historical Abstracts] Waxman, Sharon. "Embracing 'life' in death camps; filmmaker Roberto Benigni, putting comedy to the test." (film 'Life is Beautiful'). Washington Post (sun, Nov 1, 1998):G1, col 1, 46 col in. Wright, Melanie J. ""Don't Touch My Holocaust": Responding To Life Is Beautiful." Journal of Holocaust Education [Great Britain] 2000 9(1): 19-32. " Offers an analysis of the content and reception of Roberto Benigni's 1998 film Life Is Beautiful, which won critical acclaim but was also bitterly criticized in some Jewish circles for the humorous approach taken toward the Shoah. More seriously, Life Is Beautiful is party to a dangerous authoritarianism in that it, like many other Holocaust films, is willing to combine "detachment and brutality, distance and cruelty, pleasure and indifference." [Historical Abstracts] The Marx Brothers Haas, Scott. "The Marx Brothers, Jews, and My Four-Year-Old Daughter." Cineaste, vol. 19 no. 2-3. 1992. pp: 48-49. Essay on the Marx Brothers' film "Duck soup" and Jewish identity. Lieberfeld, Daniel; Sanders, Judith. "Here Under False Pretenses: the Marx Brothers Crash the Gates. American Scholar v64, n1 (Wntr, 1995):103 (6 pages). Winokur, Mark Brian. American Laughter: The Immigrant as Theme in American Comdey Film [Dissertation, 985] NRLF C 2 930 656 Winokur, Mark. "'Smile Stranger': Aspects of Immigrant Humor in the Marx Brothers' Humor." Literature/ Film Quarterly, vol. 13 no. 3. 1985. pp: 161-171. Night and Fog The Passion of Christ The Pianist SEE Roman Polanski bibliography The Pawn Broker Johnson, Michael K. "Traumatic Experience and the Representation of Nature in the Novel and Film The Pawnbroker." Literature/Film Quarterly. 2007. Vol. 35, Iss. 4; p. 294 (13 pages) UC users only Leff, Leonard J. "Hollywood And The Holocaust: Remembering The Pawnbroker."American Jewish History 1996 84(4): 353-376. (UC users only) "Chronicles the development of Edward Lewis Wallant's novel The Pawnbroker (1962) into a successful but controversial American movie. Rod Steiger starred as Sol Nazerman in the film that defied the motion picture industry's aversion to movies about Jews, Holocaust atrocities, and on-screen nudity. A collaborative effort of directors, producers, actors, writers, and philanthropists, The Pawnbroker set the standard for future American television series and movies contributing to the Holocaust memory." [from ABC-CLIO America: History & Life] Mintz, Alan L. "The Pawnbroker (1965)" In: Popular culture and the shaping of Holocaust memory in America Seattle : University of Washington Press, c2001. MAIN: D804.45.U55 P67 2001 Quart, Leonard "A Second Look: The Pawnbroker." Cineaste 25, no. 2 (2000): p. 48-50 UC users only "The strongest fictional film about survivors of the Holocaust is The Pawnbroker (1965), directed by Sidney Lumet. The film, which was the first by Lumet with a Jewish focus, deals with a man in profound distress, Sol Nazerman, once a professor of philosophy in Leipzig, Germany, and now an Auschwitz survivor whose wife and children have died in the camps. Enveloped in suffering and anguish, Nazerman, who has become an East Harlem pawnbroker, tries to wall it in by turning himself into a man of stone. The film uses jagged editing to give a greater force to Nazerman's memories of the concentration camp, which are triggered by different events. The film's final scenes follow the failed robbery of the shop planned by Nazerman's manic assistant, Jesus, who is killed in an attempt to save Nazerman from being shot. Nazerman's cathartic, silent scream over Jesus body is the ultimate breaking of the frozen ice within. The film explicitly elaborates on Nazerman's Jewish identity only once, but it makes no attempt to turn him into a universal victim whose Jewishness is incidental." [Art Index] Rosen, Alan. "'Teach me gold': pedagogy and memory in The Pawnbroker." Prooftexts (22:1/2) 2002, 77-117. (2002) Full-text available via LION (UCB users only) Zierler, Wendy ""My Holocaust is not your Holocaust"; "facing" Black and Jewish experience in "The Pawnbroker", "Higher Ground", and "The Nature of Blood"." Holocaust and Genocide Studies 18,1 (2004) 46-67 Seinfeld (TV) Schindler's List Sophie's Choice Dunlap, Benjamin. "Pakula's Choice." Papers on Language and Literature: A Journal for Scholars and Critics of Language and Literature vol. 23 no. 4. 1987 Fall. pp: 531-543. Lupack, Barbara Tepa. "Sophie's Choice, Pakula's Choices." In: Take Two: Adapting the Contemporary American Novel to Film / edited by Barbara Tepa Lupack. pp: 91-111. Bowling Green, OH: Bowling Green State University Popular Press, c1994. Main Stack PS374.M55.T3 1994 Kadish, Doris Y. "Sophie's Sexual/Textual Choice" In: Sex and Love in Motion Pictures: proceedings of the Second Annual Film Conference of Kent State University, April 11, 1984 / edited by Douglas Radcliff-Umstead. pp: 25-30. UCB Main PN1995.9.S45 F551 1984 To Be or Not to Be See Ernst Lubitsch bibliography Yentl Arnold, Gary. "Yentl." (moving-picture reviews) Washington Post v106 (Sun, Dec 4, 1983):F1, col 1, 44 col in. Bender, Eileen T. "Androgynous Scribes, Duplicitous Inscription: Isaac Bashevis Singer's Cinematic Dreamscapes." In: Florida State University Conference on Literature and Film (10th: 1985: Tallahassee) The kingdom of dreams in literature and film: selected papers from the Tenth Annual Florida State University Conference on Literature and Film / edited by Douglas Fowler. pp: 114-127. Tallahassee: University Presses of Florida, c1986. Main Stack PN1993.4.F641 1985 NRLF #: B 3 567 225 Carr, Jay. "Yentl." (moving-picture reviews)Los Angeles Times v103, secVI (Fri, Dec 30, 1983):10, col 1, 4 col in. Corliss, Richard "Yentl." (movie reviews) . Time Nov 21, 1983 v122 p93(1) "I.B. Singer talks to I.B. Singer about the movie 'Yentl.'" New York Times v133, sec2 (Sun, Jan 29, 1984):H1(N), H1(L), col 1, 20 col in. Kauffmann, Stanley "Department of outraged virtue." (On Films: 'Yentl' screenplay) (column) The New Republic March 5, 1984 v190 p24(2) Maslin, Janet. "Yentl." (moving-picture reviews) New York Times v133 (Fri, Nov 18, 1983):24(N), C10(L), col 1, 19 col in. Maloof, Paula; Allison Fernley "Yentl." (movie reviews) Film Quarterly Spring 1985 v38 p38(9) Pollock, Dale. "I caught myself saying, well, I'll ask the director. Then I went, Ohhh!" (Barbra Streisand directing Yentl) Los Angeles Times v102, secC (Sun, Oct 16, 1983):1, col 1, 97 col in. Rosenfield, Paul. "Yentl." (moving-picture reviews) Los Angeles Times v103, secC (Sun, Dec 11, 1983):2, col 1, 25 col in. Salamon, Julie. "Yentl." (moving-picture reviews) Wall Street Journal (Thu, Nov 17, 1983):28(W), 28(E), col 1, 20 col in. Schanfield, Lillian. "Singer's 'Yentl': The Fantastic Case of a Perplexed Soul." In: International Conference on the Fantastic in the Arts (6th: 1985: Beaumont, Tex.) Spectrum of the fantastic: selected essays from the Sixth International Conference on the Fantastic in the Arts / edited by Donald Palumbo. pp: 185-192. New York: Greenwood Press, 1988. Contributions to the study of science fiction and fantasy; no. 31 Main Stack NX650.F36.I591 1985 Stewart, Garrett. "Singer Sung: Voice as Avowal in Streisand's Yentl." Mosaic: A Journal for the Interdisciplinary Study of Literature, 1985 Fall, 18:4, 135-158. Whitfield, Stephen J. "Yentl." Jewish Social Studies: History, Culture, and-Society 1998-1999 Fall-Winter, 5:1-2, 154-76. Yiddish Film Alpert, Michael "Freylekhs on Film: The Portrayal of Jewish Traditional Dance in Yiddish Cinema." Jewish Folklore & Ethnology Newsletter, vol. 8, no. 3-4, pp. 6-7, 35, 1986 Cohen, Joseph. "Yiddish Film And The American Immigrant Experience." Film & History 1998 28(1-2): 30-44. UC users only Furnish, Ben Nostalgia in Jewish-American theatre and film, 1979-2004 New York: P. Lang, c2005. MAIN: PN3035 .F87 2005 Goldberg, Judith N. Laughter Through Tears: The Yiddish Cinema Judith N. Goldberg. Rutherford [N.J.]: Fairleigh Dickinson University Press; London: Associated University Presses, c1983. CB Main PN1995.9.Y54 G6 1983 Goldman, Eric A. Visions, Images, and Dreams: Yiddish Film Past and Present Eric A. Goldman. Ann Arbor, Mich.: UMI Research Press, c1983. Series title: Studies in cinema; no. 24. UCB Main PN1995.9.Y54 G64 1983 Hoberman, J. Bridge of Light: Yiddish Film Between Two Worlds New York: Museum of Modern Art: Schocken Books, c1991. UCB Main PN1995.9.Y54 H6 1991 UCB Moffitt PN1995.9.Y54 H6 1991 Hoberman, J. "A Face to the Shtetl: Soviet Yiddish Cinema, 1924-36." In: Inside the film factory : new approaches to Russian and Soviet cinema / edited by Richard Taylor and Ian Christie. London ; New York, NY : Routledge, 1991. Main Stack PN1993.5.R9.I57 1991 Moffitt PN1993.5.R9.I57 1991 Matis, David "The First Jewish Sound Films and Kiddush Hashem of 1914." Yiddish, vol. 10, no. 1, pp. 34-40, 1995 Sicular, Eve "'A Yingl mit a Yingl hot epes a tam': The Celluloid Closet of Yiddish Film." Jewish Folklore and Ethnology Review, vol. 16, no. 1, pp. 40-45, 1994 Thissen, Judith "Film and vaudeville on New York's Lower East Side." In: The art of being Jewish in modern times / edited by Barbara Kirshenblatt-Gimblett and Jonathan Karp. Philadelphia : University of Pennsylvania Press, c2008. Main Stack NX684.A4.A78 2008 Weitzner, Jacob "Yiddish in Israeli Cinema." Prooftexts: A Journal of Jewish Literary History, vol. 22, no. 1-2, pp. 186-99, Winter 2002 UC users only When Joseph met Molly : a reader on Yiddish film Edited by Sylvia Paskin. Nottingham : Five Leaves, 1999. Main Stack PN1995.9.Y54.W44 1999

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