ABSTRACT:Lilli Palmer’s personal and political status as a Jewish émigré informs her success as a stage and screen actress and later, as a novelist and painter. Like other Jewish émigrés to Britain and the United States, Palmer illustrates the creative opportunities many experienced in voluntary exile or as refugees escaping Nazi persecution. This essay focuses on Palmer’s espionage roles that plunge her into political and narrative jeopardy. Whether her characters are written into British or American productions, or whether they are subject to Nazi or Soviet terror, they occupy a liminal position that generalizes the gendered import of her roles. At the end of each of her spy films, her characters wait for the dubious promises of romance to be fulfilled; they are sacrificed for the Allied cause, reactivating the self-determining choice that first drove her to espionage. Even as Lilli Palmer’s spy thriller roles and performances developed over the course of her career, they continued to echo the cultural and political displacement she experienced.
{"title":"Performing Exile as an Undercover Agent: The Spy Films of Lilli Palmer","authors":"Phyllis Lassner","doi":"10.1353/jfn.2021.0008","DOIUrl":"https://doi.org/10.1353/jfn.2021.0008","url":null,"abstract":"ABSTRACT:Lilli Palmer’s personal and political status as a Jewish émigré informs her success as a stage and screen actress and later, as a novelist and painter. Like other Jewish émigrés to Britain and the United States, Palmer illustrates the creative opportunities many experienced in voluntary exile or as refugees escaping Nazi persecution. This essay focuses on Palmer’s espionage roles that plunge her into political and narrative jeopardy. Whether her characters are written into British or American productions, or whether they are subject to Nazi or Soviet terror, they occupy a liminal position that generalizes the gendered import of her roles. At the end of each of her spy films, her characters wait for the dubious promises of romance to be fulfilled; they are sacrificed for the Allied cause, reactivating the self-determining choice that first drove her to espionage. Even as Lilli Palmer’s spy thriller roles and performances developed over the course of her career, they continued to echo the cultural and political displacement she experienced.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"30 1","pages":"160 - 185"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81805035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Amid the social and political changes that Israel has seen in recent decades, gender and ethnicity and their place in Jewish rituals are finding more and more representation in art discourse and visual culture. Life in a Jewish and democratic state, as Israel defines itself, lays questions of halakha (codified religious law) at the doorsteps of Jewish women, religious or not. Thus, halakhic issues appear in the current works of Orthodox women artists, joining those artists who define themselves as Masorti (traditionalist) and others who do not lead religious lives but tackle post-secular challenges as secular believers or are just nonobservant. Discussed below are video art works by several Jewish-Israeli women artists, focusing on those who identify as Mizrahi-Masorti and use gendered lenses to investigate the Israeli post-secular discourse on halakhic texts and practices from intersectional perspectives on body, ethnicity, and gender. Their critical view transcends the trite binary demarcation of Israel’s religious and secular realms. Their video art works, I argue, express a demand for dual recognition of their reference to Jewish law: by Israel’s hegemonic society and by its art discourse. Through them, these artists define and redefine their female Mizrahi-Masorti identity as a continuous performance of the self.
{"title":"Body, Ethnicity, and Gender in Video Art Works of Three Mizrahi-Masorti Women Artists in Post-Secular Israel","authors":"Yael Guilat","doi":"10.1353/jfn.2021.0009","DOIUrl":"https://doi.org/10.1353/jfn.2021.0009","url":null,"abstract":"ABSTRACT:Amid the social and political changes that Israel has seen in recent decades, gender and ethnicity and their place in Jewish rituals are finding more and more representation in art discourse and visual culture. Life in a Jewish and democratic state, as Israel defines itself, lays questions of halakha (codified religious law) at the doorsteps of Jewish women, religious or not. Thus, halakhic issues appear in the current works of Orthodox women artists, joining those artists who define themselves as Masorti (traditionalist) and others who do not lead religious lives but tackle post-secular challenges as secular believers or are just nonobservant. Discussed below are video art works by several Jewish-Israeli women artists, focusing on those who identify as Mizrahi-Masorti and use gendered lenses to investigate the Israeli post-secular discourse on halakhic texts and practices from intersectional perspectives on body, ethnicity, and gender. Their critical view transcends the trite binary demarcation of Israel’s religious and secular realms. Their video art works, I argue, express a demand for dual recognition of their reference to Jewish law: by Israel’s hegemonic society and by its art discourse. Through them, these artists define and redefine their female Mizrahi-Masorti identity as a continuous performance of the self.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"27 1","pages":"186 - 222"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81129515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aaron Copland’s Hollywood Film Scores by Paula Musegades (review)","authors":"S. Whitfield","doi":"10.1353/jfn.2021.0016","DOIUrl":"https://doi.org/10.1353/jfn.2021.0016","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"37 1","pages":"248 - 253"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83719532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stanley Kubrick: American Filmmaker by David Mikics (review)","authors":"M. Grinberg","doi":"10.1353/jfn.2021.0017","DOIUrl":"https://doi.org/10.1353/jfn.2021.0017","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"10 1","pages":"254 - 256"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87829797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Giraffes on Horseback Salad: Salvador Dalí, the Marx Brothers, and the Strangest Movie Never Made by Josh Frank and Tim Heidecker (review)","authors":"Jonathan L. Friedmann","doi":"10.1353/jfn.2021.0015","DOIUrl":"https://doi.org/10.1353/jfn.2021.0015","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"35 1","pages":"244 - 247"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80244916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ReFocus: The Films of Elaine May ed. by Alexandra Heller-Nicholas and Dean Brandum (review)","authors":"M. Shearer","doi":"10.1353/jfn.2021.0013","DOIUrl":"https://doi.org/10.1353/jfn.2021.0013","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"438 1","pages":"236 - 239"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77834601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This essay investigates what the author argues are two cinematic explorations of Jewish identity: Charlie Chaplin’s The Great Dictator (1940) and Roman Gary’s Genghis Cohn (1994) as rendered by the director Elijah Moshinsky. Each film addresses, at times satirizes, the frightening possibilities attendant on Jewish identity. On one level, Chaplin parodies Hitler. He also parodies Goebbels. Moshinsky parodies the barely repressed Nazism, in the closet or just beneath the surface, in post-war Germany. Combining coincidence and resemblance, Chaplin’s Barber character assumes the identity of the Dictator Hynkel and in an address to the nation apologizes for the Beloved Phooey’s policies. But in Chaplin’s rendering, the ersatz Dictator remains a Jew. Moshinsky depicts a Jewish comedian executed in 1943 inextricably linked to his executioner, SS officer Otto Schatz. The two become one, not by coincidence, but by seeming intention on Cohn’s part, both to haunt Schatz and to turn him into a Jew. Chaplin’s film operates as a prediction, Gary’s as a memory. Both films, however, argue identity, especially Jewish identity, even when hidden, waits only to resurface.
{"title":"Double-Crossed: Questions of Jewish Identity in The Great Dictator and Genghis Cohn","authors":"A. Pogorelskin","doi":"10.1353/jfn.2021.0006","DOIUrl":"https://doi.org/10.1353/jfn.2021.0006","url":null,"abstract":"ABSTRACT:This essay investigates what the author argues are two cinematic explorations of Jewish identity: Charlie Chaplin’s The Great Dictator (1940) and Roman Gary’s Genghis Cohn (1994) as rendered by the director Elijah Moshinsky. Each film addresses, at times satirizes, the frightening possibilities attendant on Jewish identity. On one level, Chaplin parodies Hitler. He also parodies Goebbels. Moshinsky parodies the barely repressed Nazism, in the closet or just beneath the surface, in post-war Germany. Combining coincidence and resemblance, Chaplin’s Barber character assumes the identity of the Dictator Hynkel and in an address to the nation apologizes for the Beloved Phooey’s policies. But in Chaplin’s rendering, the ersatz Dictator remains a Jew. Moshinsky depicts a Jewish comedian executed in 1943 inextricably linked to his executioner, SS officer Otto Schatz. The two become one, not by coincidence, but by seeming intention on Cohn’s part, both to haunt Schatz and to turn him into a Jew. Chaplin’s film operates as a prediction, Gary’s as a memory. Both films, however, argue identity, especially Jewish identity, even when hidden, waits only to resurface.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"45 1","pages":"113 - 133"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88095864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Steven Spielberg: Interviews, Revised and Updated ed. by Brent Notbohm and Lester D. Friedman (review)","authors":"L. Baron","doi":"10.1353/jfn.2021.0014","DOIUrl":"https://doi.org/10.1353/jfn.2021.0014","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"19 1","pages":"240 - 243"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80483256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Funny Man: Mel Brooks by Patrick McGilligan (review)","authors":"Sean S. Sidky","doi":"10.1353/jfn.2021.0011","DOIUrl":"https://doi.org/10.1353/jfn.2021.0011","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"87 1","pages":"227 - 231"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85937756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:In this article, I am looking at some of the mechanisms of how émigré filmmakers worked in Britain in the 1930s, and how power politics informed in particular Alexander Korda’s London Films Studio, using a relatively little-known, and under-researched film within the Korda oeuvre: The Ghost Goes West (1935). Through investigating some of the production practices of the film, and through looking at Alexander Korda’s figure, as mediated through his biographies and other academic literature on the Korda brothers, I am examining the ambiguous relationships émigré filmmakers in Britain had with their roots, their new cultural contexts, and with Hollywood hegemony. The piece brings together diverse existing literature on the Korda brothers to filter them through this particular lens and argue that The Ghost Goes West was a site of clashes in authorial voices, as well as an attempt to emanate and criticize Hollywood and American values at the same time; with strong extra-textual connotations linked to both Alexander Korda, the film’s producer, as well as Robert Donat, the film’s male star.
{"title":"Alex Korda’s Battleground: The Ghost Goes West: Authorship, Jewishness, and Émigré Filmmakers in mid-1930s Britain","authors":"Anna Mártonfi","doi":"10.1353/jfn.2021.0007","DOIUrl":"https://doi.org/10.1353/jfn.2021.0007","url":null,"abstract":"ABSTRACT:In this article, I am looking at some of the mechanisms of how émigré filmmakers worked in Britain in the 1930s, and how power politics informed in particular Alexander Korda’s London Films Studio, using a relatively little-known, and under-researched film within the Korda oeuvre: The Ghost Goes West (1935). Through investigating some of the production practices of the film, and through looking at Alexander Korda’s figure, as mediated through his biographies and other academic literature on the Korda brothers, I am examining the ambiguous relationships émigré filmmakers in Britain had with their roots, their new cultural contexts, and with Hollywood hegemony. The piece brings together diverse existing literature on the Korda brothers to filter them through this particular lens and argue that The Ghost Goes West was a site of clashes in authorial voices, as well as an attempt to emanate and criticize Hollywood and American values at the same time; with strong extra-textual connotations linked to both Alexander Korda, the film’s producer, as well as Robert Donat, the film’s male star.","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"24 1","pages":"134 - 159"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77631426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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