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film festivals. with a third citing the Toronto International Film Festival specifically. These alternative venues, within festive contexts, are outside ofthe nonn ofmainstream. Hollywood distribution. This in tum., reflects another attribute ofJewishness. In addition to the industrialized or independent production ofthese films. Jewishness is emergent when the films are photographed on-location, where the events being depicted actually occurred, thereby linking this contextual attribute with the verisimilitude nOled above. Also, Jewishness is contextually emergent when the films are based on "Jewish" source material (like Jewish personal experience narratives or Jewish authors). For example. with Shoah. by filming on location at the death camp siles. Lanz mann's aim at verisimilitude reaches into the contextual as well. These death sites and groves the Nazis planted to cover up their atrocities are not just discussed but shown visually. Even within the context ofa cinematically industrial country like France. Lanzmann produced Shoah independemly and likewise did the festival circuit. before its brief run at cinemas like the Carlelon in Toronto in 1985·86. Due [0 its immense length. the film was commercially screened in two parts. taking up [wo different cinema screens. and requiring viewers to make a return trip to see the whole movie. This film-going context is not Jewish. per se. but it is non-mainstream. JEWISH TAXONOMY (GENRE): The vernacular taxonomies that became emergent., although less important than 276
the other attributes identified. do playa role in identifying the Jewishness in film. I already noted the distinction between emic and eric genres. ofhow outsiders and insiders differ in their taxonomic processes in Chapter Three. but here, as an attribute ilself. these genres need to be outlined again: the genres which the cultural practitioners identified as reflecting Jewishness were Holocaust films. Jewish history films. Israeli films, Jewish culture films, and "women's" films. Ofthe cited films from those I"exit-polled" we can put together a chart which demonstrates these emic genres and their examples. Movic: Annie Hail (1977) The Apprenticeship ofDuddy Kravitz (1974) Avanti Popolo (1988) Beyond the Walls (1984) Blazing Saddles (1974) Cabaret (1974) Crossing Delancey (1988) Cup Final (1991) Exodus (1960) Fiddler on the Roof(1971) The Fixer (1966) The Frisco Kid(l978) Funny GirJ (1968) The Garden oflhe Finzi·Continis (1972) Gentleman's Agreement (1948) Goodbve Columbus (1969) The G;aduale (1967) HaJjthe Kingdom (1992) Hester Street (1974) Hill 24 Doesn't Answer (1955) I Love rou Rosa (1971) The Jazz Singer (1927) The Jolson Story (1946) Judgemem at Nuremberg (196\) Julia (1977) 277 Emic GCDre(S): Jewish Culture Jewish History Israeli Israeli Jewish Culture Jewish History; Holocaust Jewish Culture: Women Israeli Jewish Hislory; Israeli Jewish History Jewish History Jewish History Jewish History Jewish History: Holocaust Jewish Culture Jewish Culture Jewish Culture Jewish Culture; Women Jewish History; Women Jewish History; Israeli Jewish History; Women; Israeli Jewish Culture Jewish History Jewish History; Holocaust Jewish History; Holocaust
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St. John's An Ethnography ofSeeing,
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ACKNOWLEDGMENTS: The 1997 David Buc
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the focus and drive with which to c
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CHAPTER ONE INTRODUcnON: PoPULAR FI
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perspectives. FOLKLORE AND POPULAR
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people at the same time (Thompson:
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dealing with feature films or telev
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literatUre" debates to discussions
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10 be almost meaningless. "Sayer ar
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Deliverance (1974) (in both cases.,
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to scare and to warn; the same seem
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one of the animators later recalled
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texts in small group contexts" (Nar
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One ofthe common sites which folklo
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actually cited to me as culturally
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CHAPTER Two "You DoN'T HAVE TO BE F
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Jewish Film Festival). In 1992, obv
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people in offofthe streets. We were
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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
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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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Page 249: CONCLUSION Decoding ofJewish discou
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Page 261: personal experience nanatives: for
Page 265: iblical informs [director Sidney] L
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Page 286: To be sure, Duddy Kravitz is a nega
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Page 300: governor ofNew Jersey, mandated spe
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Page 313 and 314: emotional mush; sugary banality" (R
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Untitled - Memorial University of Newfoundland

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