- Page 8 and 9: ABSTRAcr: Cinema is a symbolic mani
- Page 10 and 11: Jewish Film Festival whose response
- Page 14 and 15: LIST OF FIGURES: Figure 2.1: TIFF S
- Page 16 and 17: analogous to the Hymesian socioling
- Page 19 and 20: which has occurred temporally and s
- Page 24: There was no conflict in her mind b
- Page 27 and 28: A unique twist to the stUdy of film
- Page 29 and 30: likewise noted that in the Vietnam
- Page 31 and 32: The dominant 8rQ for the identifica
- Page 34 and 35: Finally, special mention should be
- Page 36: contemporary verbal art suggests th
- Page 40 and 41: process to popular filmmaking10. Na
- Page 46 and 47: must try to understand the groupoes
- Page 49: methodology itselfto any defined gr
- Page 53 and 54:
impossibility, but it is the aim we
- 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.