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Jewish Film Festival whose responses were enormously helpful to me. Many people took a great deal oftime to fill out these forms, and I appreciate the effort. There were also the informants I talked with via email: on the Jewish Filmmaker's Forum (Frank Champagne. David Notowitz, Yoesb Gloger, Lmy Mark, and Walter Ruby), as well as those participanlS on the newsgroup soc.culture.jewish who responded quickly to my ignorance about my own traditions and supplied me with some great information (Rabbi Ari Shish.ler, lev Sero, Douglas Jones, and Herman Rubin). I would also like to thank my mother, Beverley Koven. for getting me access to many films discussed in this research., films which are not readily available on video. I thank Tim and Lainie ofCapitol Video in St. John's, who also helped me acquire other films. and for not necessarily charging me for the rentals. t also thank Arnold BeMetl who was detennined to make me understand the concept of"Jewish content." I also give thanks to Sharon Cochrane and Karen O'leary, without whom the Folklore department could not run at all. let alone efficiently: 10 Dr. Paul Smith who has encouraged me in developing my own ideas, even though they often differed from his: and 10 Drs. Diane Tye and Peter Narvaez. my committee members, whose encouragement and advice made this current work substantially better than I could have achieved on my own. Dr. Diane Goldstein has been a constant source ofencouragement for me, challenging my research and thinking in ways she knew I could achieve. even ifI did not. It was her leadership that gave me the strength to persevere. Academical/y, she gave me iv
the focus and drive with which to complete: this task. Personally, my focus and drive to complete: came from another source: my wife. Gian Fatty-Koven. My thanks to bet is ....ilett I wish to eod these acknowledgments. Not even she is fully aware ofhow much her love. support. encouragement. and her endless patience in sining through Jewish movies bas meant to me (she tells me that she even liud some ofthem). Gian, it is to you that l dedicate this work.
Page 7 and 8: St. John's An Ethnography ofSeeing,
Page 9: ACKNOWLEDGMENTS: The 1997 David Buc
Page 15 and 16: CHAPTER ONE INTRODUcnON: PoPULAR FI
Page 17: perspectives. FOLKLORE AND POPULAR
Page 20: people at the same time (Thompson:
Page 26 and 27: dealing with feature films or telev
Page 28 and 29: literatUre" debates to discussions
Page 30 and 31: 10 be almost meaningless. "Sayer ar
Page 32: Deliverance (1974) (in both cases.,
Page 35 and 36: to scare and to warn; the same seem
Page 39 and 40: one of the animators later recalled
Page 41: texts in small group contexts" (Nar
Page 47: One ofthe common sites which folklo
Page 51: actually cited to me as culturally
Page 54 and 55: CHAPTER Two "You DoN'T HAVE TO BE F
Page 60 and 61:
Jewish Film Festival). In 1992, obv
Page 62:
people in offofthe streets. We were
Page 69 and 70:
Half the respondents identified tha
Page 79:
angles they take, the questions the
Page 85:
One ofmy original questions on begi
Page 91:
Zukennan, It actually-this is the a
Page 97 and 98:
members themselves. The films at th
Page 100:
eversal is that sucb rites an: the
Page 103 and 104:
celebrations (Stoeltje, 1992: 265;
Page 105:
1997 Toronto Jewish Film Festival).
Page 111:
(Starn: 254}J9. As Zukerman notes,
Page 120:
esearch on a celebration ofJewish f
Page 136:
on the topic or"Israeli" cinema l3
Page 139 and 140:
Ruby, another ofmy expen practition
Page 143 and 144:
When Mark identified "neurotic self
Page 146 and 147:
Debbie: I think that Jewish bumour
Page 150:
Barbara: That's what I meant. - Now
Page 153 and 154:
volwne, MediIJ Sense, the authors p
Page 156:
and ofpurely subjective response ar
Page 161:
come as no surprise then to discove
Page 164:
perspective on some ofthese issues,
Page 167 and 168:
was dripping, really, not flowing l
Page 170:
phenomenology, on the olher hand, t
Page 176:
demonstnucd by this specific cinema
Page 179:
the print ofthe film I saw. The dis
Page 184:
actors to Poland to star in his fil
Page 194:
one can examine this footage with e
Page 200 and 201:
gentle pastoral comedy about a quie
Page 205:
fonn of a promise. The Polish films
Page 210 and 211:
differences in experience across th
Page 215:
one is actively in opposition to th
Page 219 and 220:
To reduce the process ofcognition a
Page 222:
science fiction programs. noted tha
Page 234:
within my own Jewish upbringing, I
Page 239 and 240:
"complicit'" is that of"incompetenc
Page 242 and 243:
During this process, the person tak
Page 244:
Holocaust The family vacating their
Page 249:
CONCLUSION Decoding ofJewish discou
Page 253 and 254:
infonnams: "My favourite Jewish mov
Page 256 and 257:
the Toronto Jewish Film Festival du
Page 261:
personal experience nanatives: for
Page 265:
iblical informs [director Sidney] L
Page 276:
Talmud is the adage, even used as t
Page 282:
would make him out to be, Issy has
Page 286:
To be sure, Duddy Kravitz is a nega
Page 291:
the other attributes identified. do
Page 295 and 296:
testimony to the Holocaust We read
Page 300:
governor ofNew Jersey, mandated spe
Page 308 and 309:
cultures. The problem is that all c
Page 313 and 314:
emotional mush; sugary banality" (R
Page 320:
-. 1984. "Introduction: Cultural Pe
Page 328:
and Jack Klugman. ParamounL 105 min
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