Untitled - Memorial University of Newfoundland

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impossibility, but it is the aim we strive to). But conversely. when cultural producers (in this case. filmmakers) are eocuItumed within a specific cu1nue they are already in a privileged position as insiders to thaI group and therefore the group's own culnual reading strategies are expressed in tha1 fil.m.maker's work.. 39
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 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 55: shall outline the community I was w
Page 61 and 62: with Helen Zukerman, as producer of
Page 64: As it turned out, our respective ne
Page 70: Do you go to any ofthe other film f
Page 81: culture (and ifso, what are the men
Page 89: and soft drinks in the '"party room
Page 94: integral part ofthe lewish cultural
Page 98: The idea ofsymbolic inversion is ce
Page 102 and 103:
Jewish community - being downtown.
Page 104 and 105:
Obviously, the food which most cele
Page 107:
ighlighlS this dynamic: "'filled wi
Page 118:
This is especially relevant within
Page 129:
I also spoke with Howard and Sara.
Page 138 and 139:
would show an accurate portrait ofJ
Page 140:
survey form DOted: "The movies that
Page 144:
apparent manifest content oCthe fil
Page 147:
Although Debbie was not discussing
Page 152 and 153:
CHAPTER FOUR: "SMELLING RIGHT": REA
Page 154:
"the expressive use ofcommunication
Page 160 and 161:
extension across space). FILM AND P
Page 163 and 164:
this was a "Jewish" household. I th
Page 166 and 167:
she said that ofall the movies she'
Page 168:
gestalt, films like The Plot Agains
Page 173:
attendees who participated in my su
Page 178 and 179:
to identify the cultural motifs of
Page 181:
cut, suited (rather than wearing a
Page 188:
Deriving from the Book ofEsther, Pu
Page 199 and 200:
concerns than the Polish made films
Page 201:
Noyakh says again, "'City Jews are
Page 209 and 210:
those narrative issues salient to t
Page 211:
vemacula:r language, the family, th
Page 218 and 219:
women share II. universal set ofexp
Page 220:
cannot crack it" (Radner and Lanser
Page 232:
further. Here is another person I s
Page 238 and 239:
wa1kUlg in the front door, but this
Page 240:
There is a moment in Exodus (1960)1
Page 243 and 244:
forced out oftheir luxury apartment
Page 247:
the traditional values were being c
Page 252 and 253:
CHAf'1"[RSEVEN: AN EmNOCRAPHY OF SE
Page 254:
perhaps we should also be asking a
Page 257:
The narrative motifof"the Jewish fa
Page 264 and 265:
about the destruction ofJewish fami
Page 270:
Barbara Kirshenblatt-Gimblett ooted
Page 281 and 282:
Kavanaugh) with tba1 admonition. Ja
Page 284:
source: material. Both the Finzi-Co
Page 290 and 291:
film festivals. with a third citing
Page 293:
somewhere. Nobody wanted us. I thin
Page 296:
into the Irgun). But there is anoth
Page 307 and 308:
necessarily the ones I would have c
Page 309:
names we give to what we do, that f
Page 314:
BIBLIOGRAPHY Abella, lrviDgand Haro
Page 325:
Yacowar, Maruice. 1994. "Schindler'
Page 331:
Miriam Riselle. and Leon Liebgold.
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Untitled - Memorial University of Newfoundland

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