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LIST OF FIGURES: Figure 2.1: TIFF Survey· "Is this the first time you've come to the festival'?" 51 Figure 2.2: TIFF Survey - "How many years have you been coming: . . 52 Figure 2.3: TlFF Survey· "00 you have a festival pass, or do you buy your tickets individually?". . 53 Figure 2.4: TIFF Survey· "How many people did you come down here with?". . 54 Figure 2.5: TIFF Survey - "Do you go to any ofthe other film festivals in Toronto?" .. 56 Figure 2.6: TJFF Survey·"Oo you go to any ofthe other ethnic (Le. Jewish) festivals in Toronto?" . .57 Figure 2.7: TJFF Survey· wHow did you hear about this festival?". . 58 Figure 2.8: TJFF Survey·"1n general. what kind of movies do you prefer?" . . 61 Figure 2.9: TJFF Survey· "How imponant do you think this festival is 10 the cultural life ofToronto Jews?" . . 62 Figure 2.10: TJFF Survey· "Is a Jewish director, star. or writer imponant to you?" 63 Figure 2.11: TJFF Survey· "Arc all movies made by Jews, Jewish?" . . .. 64 Figure 2.12: TJFF Survey· "Can a non·Jew make a Jewish movie?" . . . 64 Figure 2.13: TIFF Survey· "Age [ofFestival attendee]?" 66 Figure 2.14: TIFF Survey· "Gender (ofFestival attendees]?" .. . 66 Figure 2.15: TJFF Survey· "[Religious) Denomination?" . . .. 67 Figure 2.16: TJFF Survey· "Are you affiliated with a synagogue?" . . 68 Figure 3.1: Number ofIsraeli films shown at the Toronto Jewish Film Festival . 121 Figure 3.2: Israclllsracii themed films.. . ... 122 Figure 3.3: Number ofHolocaust films shown at the Toronlo Jewish Film Festival 125 Figure 3.4: Holocaust films. . 126 Figure 3.5: Number of"Women's" films shown atlhe Toronto Jewish Film FCSlival .127 Figure 3.6: "Women's" films. . 128 Figure 7.1: List ofCited Films with Ernie Genres 278 viii
CHAPTER ONE INTRODUcnON: PoPULAR FILM AND FOLKLORE Academic arguments are usually built, constructed, or even woven; choose whatever metaphor you like. For me, in the argument that I am now putting fonh.. none of these metaphors accurately reflect the process by which I make my point. lnstead, the appropriate metaphor might be macrame: I am taking a variety oftheories from a great many approaches and tying them together. What I would like to demonstrate is that in folklore's neglect ofpopular cinema not enough scholars have addressed what one can learn ethnographically from the kind of movies that people go to for entertainment. To do this one must begin by accepting the position that movies can inform folklorists' understanding of cultural production. The methodology I propose here is one step forward in understanding how popular cinema can inform folkloriSlics. Muriel Saville·Troike characterized Dell Hymes's development oflhe "ethnography ofspeaking" as "focusing on the patterning ofcommWlicative behavior as it constitutes one of the systems ofculture. as it functions within the holistic context of culture. and as it relates to patterns in other component systems" (Saville-Troike: I). Popular cinema. along with lang.uage. material anifacts. and customs. is communicative behavior. This current study looks at the patterns of popular cinema within their cultural context. and asks how popular cinema functions within the holistic context of culture. and how it relates to other systems within that culture. In this respect, the current research is
Page 7 and 8: St. John's An Ethnography ofSeeing,
Page 9 and 10: ACKNOWLEDGMENTS: The 1997 David Buc
Page 11: the focus and drive with which to c
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
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people in offofthe streets. We were
Page 69 and 70:
Half the respondents identified tha
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angles they take, the questions the
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One ofmy original questions on begi
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Zukennan, It actually-this is the a
Page 97 and 98:
members themselves. The films at th
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eversal is that sucb rites an: the
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celebrations (Stoeltje, 1992: 265;
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1997 Toronto Jewish Film Festival).
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(Starn: 254}J9. As Zukerman notes,
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esearch on a celebration ofJewish f
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on the topic or"Israeli" cinema l3
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Ruby, another ofmy expen practition
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When Mark identified "neurotic self
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Debbie: I think that Jewish bumour
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Barbara: That's what I meant. - Now
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volwne, MediIJ Sense, the authors p
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and ofpurely subjective response ar
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come as no surprise then to discove
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perspective on some ofthese issues,
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was dripping, really, not flowing l
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phenomenology, on the olher hand, t
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demonstnucd by this specific cinema
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the print ofthe film I saw. The dis
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actors to Poland to star in his fil
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one can examine this footage with e
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gentle pastoral comedy about a quie
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fonn of a promise. The Polish films
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differences in experience across th
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one is actively in opposition to th
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To reduce the process ofcognition a
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science fiction programs. noted tha
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within my own Jewish upbringing, I
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"complicit'" is that of"incompetenc
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During this process, the person tak
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Holocaust The family vacating their
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CONCLUSION Decoding ofJewish discou
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infonnams: "My favourite Jewish mov
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the Toronto Jewish Film Festival du
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personal experience nanatives: for
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iblical informs [director Sidney] L
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Talmud is the adage, even used as t
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would make him out to be, Issy has
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To be sure, Duddy Kravitz is a nega
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the other attributes identified. do
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testimony to the Holocaust We read
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governor ofNew Jersey, mandated spe
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cultures. The problem is that all c
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emotional mush; sugary banality" (R
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-. 1984. "Introduction: Cultural Pe
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and Jack Klugman. ParamounL 105 min
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