Pub Date : 2019-05-18DOI: 10.13110/JEWIFILMNEWMEDI.5.2.0227
Benjamin Wright
{"title":"On Haskell's Steven Spielberg: A Life in Films","authors":"Benjamin Wright","doi":"10.13110/JEWIFILMNEWMEDI.5.2.0227","DOIUrl":"https://doi.org/10.13110/JEWIFILMNEWMEDI.5.2.0227","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"92 1","pages":"227 - 231"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83803376","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}
Pub Date : 2018-04-01DOI: 10.13110/JEWIFILMNEWMEDI.6.1.0120
Kameron J. Copeland
{"title":"On Philipides and Schuder's The Village of Peace","authors":"Kameron J. Copeland","doi":"10.13110/JEWIFILMNEWMEDI.6.1.0120","DOIUrl":"https://doi.org/10.13110/JEWIFILMNEWMEDI.6.1.0120","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"22 1","pages":"120 - 123"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87180806","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}
Pub Date : 2018-04-01DOI: 10.13110/JEWIFILMNEWMEDI.6.1.0067
Olga Gershenson
ABSTRACT:As the generation of Holocaust survivors dwindles, the questions of Holocaust representation are especially poignant today. What is appropriate? What are the limits of taste and irony? How to deal with the plethora of media-generated images of the past? These questions are particularly resonant in Israel, where Holocaust history and memory are the cornerstones of national culture and part and parcel of its "civil religion," instrumentalized to serve the interests of the state. In this article I explore the work of young Israeli artists who may be termed "third generation" survivors, and the way their art engages with the memory of the Holocaust. Focusing on a representative video work, Awake by Tamar Latzman, I show that the art of the third generation is characterized by close attention to earlier representations of the Holocaust and their mediation. The artists' attitude toward these representations is often playful, relying on parody, irony, and humor, and drawing paradoxical connections between past and present. They experiment with point of view, shifting from victims to perpetrators or deniers. I conclude that what emerges in Latzman's (and others') work is meta-memory—a memory of a memory (in the same way in which meta-cinema is film about film).
{"title":"Meta-Memory: About the Holocaust in New Israeli Video Art","authors":"Olga Gershenson","doi":"10.13110/JEWIFILMNEWMEDI.6.1.0067","DOIUrl":"https://doi.org/10.13110/JEWIFILMNEWMEDI.6.1.0067","url":null,"abstract":"ABSTRACT:As the generation of Holocaust survivors dwindles, the questions of Holocaust representation are especially poignant today. What is appropriate? What are the limits of taste and irony? How to deal with the plethora of media-generated images of the past? These questions are particularly resonant in Israel, where Holocaust history and memory are the cornerstones of national culture and part and parcel of its \"civil religion,\" instrumentalized to serve the interests of the state. In this article I explore the work of young Israeli artists who may be termed \"third generation\" survivors, and the way their art engages with the memory of the Holocaust. Focusing on a representative video work, Awake by Tamar Latzman, I show that the art of the third generation is characterized by close attention to earlier representations of the Holocaust and their mediation. The artists' attitude toward these representations is often playful, relying on parody, irony, and humor, and drawing paradoxical connections between past and present. They experiment with point of view, shifting from victims to perpetrators or deniers. I conclude that what emerges in Latzman's (and others') work is meta-memory—a memory of a memory (in the same way in which meta-cinema is film about film).","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"43 1","pages":"67 - 90"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76598949","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}
Pub Date : 2018-04-01DOI: 10.13110/JEWIFILMNEWMEDI.6.1.0124
Rafael Arreaza Scrocchi
{"title":"On Dawidowicz's The Life of Simón Bolívar","authors":"Rafael Arreaza Scrocchi","doi":"10.13110/JEWIFILMNEWMEDI.6.1.0124","DOIUrl":"https://doi.org/10.13110/JEWIFILMNEWMEDI.6.1.0124","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"1 1","pages":"124 - 127"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90489727","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}
Pub Date : 2018-03-01DOI: 10.1353/jfn.2018.a725822
Axel St�hler
{"title":"Making Peace or Piecemeal? Arnold Wesker's Screenplay and Wolfgang Storch's TV Adaptation of Arthur Koestler's Thieves in the Night","authors":"Axel St�hler","doi":"10.1353/jfn.2018.a725822","DOIUrl":"https://doi.org/10.1353/jfn.2018.a725822","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"183 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74397559","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}
Pub Date : 2017-11-07DOI: 10.13110/jewifilmnewmedi.7.1.0111
D. Weinstein
{"title":"On Weinstein's The Eddie Cantor Story: A Jewish Life in Performance and Politics","authors":"D. Weinstein","doi":"10.13110/jewifilmnewmedi.7.1.0111","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.7.1.0111","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48011675","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}
Pub Date : 2017-09-01DOI: 10.1353/jfn.2017.a724373
Axel St�hler
{"title":"\"Historical Argument\" or \"Cowboys and Indian\"? Arnold Wesker's TV Screenplay of Arthur Koestler's Thieves in the Night","authors":"Axel St�hler","doi":"10.1353/jfn.2017.a724373","DOIUrl":"https://doi.org/10.1353/jfn.2017.a724373","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84445857","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}
Pub Date : 2017-08-08DOI: 10.13110/jewifilmnewmedi.7.1.0107
D. Thomson
{"title":"On Thomson's Warner Bros: The Making of an American Movie Studio","authors":"D. Thomson","doi":"10.13110/jewifilmnewmedi.7.1.0107","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.7.1.0107","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41889275","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}
Pub Date : 2017-04-01DOI: 10.13110/JEWIFILMNEWMEDI.5.1.0116
T. Manning
On Lassner's Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film. By Phyllis Lassner. Edinburgh: Edinburgh University Press, 2016. 272 pp., ISBN 9781474401104 (hc); 978-1474416733 (ePub); 978-1474401111 (PDF). £70 (all editions).This important book is testament to a growing-and welcome-tendency to analyze the espionage genre as a political phenomenon. In Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film, Phyllis Lassner does not view spy fiction and film as disposable entertainment, as "mass culture," or through the filter of genre (in all of which history tends to disappear), but as widely disseminated products, reflectors, and even shapers ofhistory and politics. In her words: "these fictions construct a multivocal form of cultural production that commingles propaganda, popular entertainment and cultural history" (3). Lassner's central argument is original, productive, and persuasive, if not always easily grasped: how espionage fiction intersects with Jewish experience from the 1930s to the 1960s -what Lassner calls "exile as a political condition and a state of being and identity" (3) versus the "'fixed' dominant position of totalitarian nationalism" (8).Lassner's incorporation of cinema alongside literary fiction reflects not token interdisciplinarianism but a sure grasp ofthe reality ofhow spy stories are consumed. The hybrid literary-cinematic legacy ofJames Bond has become paradigmatic, with filmed versions of John le Carre's work, from Tinker Tailor Soldier Spy (Tomas Alfredson, France, UK, Germany, 2011) to The Night Manager (Susanne Bier, UK, BBC, 2016), disseminating-and, yes, sometimes distorting-their literary originals. Using the contemporary TV series The Americans (USA, FX Network, 2013-)-inspired by real-life Soviet "sleeper" agents in Cold War America-as a jumping-off point, Lassner emphasizes how exile is the lived reality of secret agents but also, more audaciously, argues that such separation from nation-states also creates distance from national ideologies. Thus Lassner argues that spies and Jews occupy a shared liminal political space in espionage fiction.Lassner's approach is highly effective in reframing the 1930s novels of Eric Ambler, wherein the recurring figures of the stateless, the exiled, and the persecuted-conventionally critically figured as "amateurs" or "innocents"-now function as cyphers for the Jew amid the upheavals of asylum-less 1930s Europe. Lassner shows how, far from being sublimated British state propaganda, Ambler's fiction argued fervently against the British state's appeasement of Germany. German expressionist cinema (referenced throughout the book) and Ambler's work is particularly effective: Crepuscular imagery and gothic architecture capture a paranoia, an existential malaise, as filmmakers and novelist look over their shoulders at the materializing specter of fascis
{"title":"On Lassner's Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film","authors":"T. Manning","doi":"10.13110/JEWIFILMNEWMEDI.5.1.0116","DOIUrl":"https://doi.org/10.13110/JEWIFILMNEWMEDI.5.1.0116","url":null,"abstract":"On Lassner's Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film. By Phyllis Lassner. Edinburgh: Edinburgh University Press, 2016. 272 pp., ISBN 9781474401104 (hc); 978-1474416733 (ePub); 978-1474401111 (PDF). £70 (all editions).This important book is testament to a growing-and welcome-tendency to analyze the espionage genre as a political phenomenon. In Espionage and Exile: Fascism and Anti-Fascism in British Spy Fiction and Film, Phyllis Lassner does not view spy fiction and film as disposable entertainment, as \"mass culture,\" or through the filter of genre (in all of which history tends to disappear), but as widely disseminated products, reflectors, and even shapers ofhistory and politics. In her words: \"these fictions construct a multivocal form of cultural production that commingles propaganda, popular entertainment and cultural history\" (3). Lassner's central argument is original, productive, and persuasive, if not always easily grasped: how espionage fiction intersects with Jewish experience from the 1930s to the 1960s -what Lassner calls \"exile as a political condition and a state of being and identity\" (3) versus the \"'fixed' dominant position of totalitarian nationalism\" (8).Lassner's incorporation of cinema alongside literary fiction reflects not token interdisciplinarianism but a sure grasp ofthe reality ofhow spy stories are consumed. The hybrid literary-cinematic legacy ofJames Bond has become paradigmatic, with filmed versions of John le Carre's work, from Tinker Tailor Soldier Spy (Tomas Alfredson, France, UK, Germany, 2011) to The Night Manager (Susanne Bier, UK, BBC, 2016), disseminating-and, yes, sometimes distorting-their literary originals. Using the contemporary TV series The Americans (USA, FX Network, 2013-)-inspired by real-life Soviet \"sleeper\" agents in Cold War America-as a jumping-off point, Lassner emphasizes how exile is the lived reality of secret agents but also, more audaciously, argues that such separation from nation-states also creates distance from national ideologies. Thus Lassner argues that spies and Jews occupy a shared liminal political space in espionage fiction.Lassner's approach is highly effective in reframing the 1930s novels of Eric Ambler, wherein the recurring figures of the stateless, the exiled, and the persecuted-conventionally critically figured as \"amateurs\" or \"innocents\"-now function as cyphers for the Jew amid the upheavals of asylum-less 1930s Europe. Lassner shows how, far from being sublimated British state propaganda, Ambler's fiction argued fervently against the British state's appeasement of Germany. German expressionist cinema (referenced throughout the book) and Ambler's work is particularly effective: Crepuscular imagery and gothic architecture capture a paranoia, an existential malaise, as filmmakers and novelist look over their shoulders at the materializing specter of fascis","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"12 1","pages":"116 - 119"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90409455","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}
Pub Date : 2017-04-01DOI: 10.13110/jewifilmnewmedi.5.1.0106
Elyce Rae Helford
{"title":"On Pomerance and Palmer's George Cukor: Hollywood Master","authors":"Elyce Rae Helford","doi":"10.13110/jewifilmnewmedi.5.1.0106","DOIUrl":"https://doi.org/10.13110/jewifilmnewmedi.5.1.0106","url":null,"abstract":"","PeriodicalId":40351,"journal":{"name":"Jewish Film & New Media-An International Journal","volume":"48 6 1","pages":"106 - 108"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78954362","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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