This book examines the expression of a Jewish identity in French films and the characteristics used by filmmakers to portray this nebulous concept in movies produced after the Shoah and World War II. Throughout a sixty-year span, French directors struggled to define Jewish identity and a correlation with the larger question of French national identity. The study delves into the larger question of Jewish identity as characterised in works of cinematic fiction in accordance with the history of the Jews of France, using the centrality of the emancipation paradigm of 1791 and the theoretical frame provided by Jean-Paul Sartre’s Réflexions sur la question juive. The book identifies and describes three categories of films produced between 1950 and 2010 that represent the manner in which directors portrayed an evolving Jewish identity and its relation to French society, rejecting the practice of labeling a film as “Jewish” because of the ethnicity of a director or writer. Based on extensive research including the review of over 200 full-length films, the book provides an overview of features addressing the concept of Jewish identity and includes a Descriptive Filmography of productions matching the author’s definition of a Jewish-identity film. From the template La Grande Illusion to contemporary releases, the book argues that French Jewish-identity films dwell in the sociological realm of Jewishness, as the epicenter of tension is rooted in identity rather than religion.

As a linguistic carrier of a thousand years of European Jewish civilization, the Yiddish language is closely tied to immigrant pasts and sites of Holocaust memory. In The Yiddish Supernatural on Screen, Rebecca Margolis investigates how translated and subtitled Yiddish dialogue reimagines Jewish lore and tells new stories where the supernatural looms over the narrative. The book traces the transformation of the figure of the dybbuk—a soul of the dead possessing the living—from folklore to 1930s Polish Yiddish cinema and on to global contemporary media. Margolis examines the association of spoken Yiddish with spectral elements adapted from Jewish legends within the horror genre. She explores how all-Yiddish prologues to comedy film and television depict magic located in an immigrant or pre-immigrant past that informs the present. Framing spoken Yiddish on screen as an ancestral language associated with trauma and dispossession, Margolis shows how it reconstructs haunted and mystical elements of the Jewish experience.

This comparative, transatlantic two-volume work covers nearly 120 years of the history of the rights, integration, and security of the Jewish people in both the United States and France, the countries with the largest and third-largest Jewish populations. Religious freedom and secularism have evolved differently in France and the United States, reinforcing their separate national identities. Yet there are parallels to their Jewish history, and in how the security of Jews has repeatedly defined and tested the national interests of France and the United States in world affairs. Drawing on the author’s personal experience as an international civil servant, these volumes explore topics such as tensions and common interests between France and the United States, the memory of the Shoah, social mobility, the tepid commitment of the United States to the rights of French Jews during World War II, trends in antisemitism and tolerance, and global climate change as a threat to largely coastal Jewish communities. They highlight what makes insecurity different in the 21st century and why a paradigm shift in policy is needed. This title is intended both for a general audience and advanced undergraduate and graduate students interested in Jewish history, urban history, and international relations.

In the aftermath of World War II, the United States emerged as the dominant imperial power, and in US popular memory, the Second World War is remembered more vividly than the American Revolution. American Literature in Transition, 1940–1950 provides crucial contexts for interpreting the literature of this period. Essays from scholars in literature, history, art history, ethnic studies, and American studies show how writers intervened in the global struggles of the decade: the Second World War, the Cold War, and emerging movements over racial justice, gender and sexuality, labor, and de-colonization. One recurrent motif is the centrality of the political impulse in art and culture. Artists and writers participated widely in left and liberal social movements that fundamentally transformed the terms of social life in the twentieth century, not by advocating specific legislation, but by changing underlying cultural values. This book addresses all the political impulses fueling art and literature at the time, as well as the development of new forms and media, from modernism and noir to radio and the paperback.

A genre of comic melodramas produced in the 1960s and '70s, Bourekas films are among the most popular films ever made in Israel. In Israeli Bourekas Films, author and filmmaker Rami Kimchi sets out a history of Bourekas films and discusses their origin. Kimchi considers the representation of Sephardi or Mizrahi Jews in the films, noting that the material culture reflected in the the films presented a culture that was closer to the European Yiddish culture than to the Middle Eastern world of the Mizrahim. Kimchi reflects on the enormous popularity and commercial success of Bourekas films, uncovers how they were made, who made them and why, and discusses the impact of the films on Israeli cinema today. Israeli Bourekas Films is a film insider's view of the characters, stories, and cultures that made Bourekas films such an important part of Israeli life.

In The Feminine Mystique, Jewish-raised Betty Friedan struck out against a postwar American culture that pressured women to play the role of subservient housewives. However, Friedan never acknowledged that many American women refused to retreat from public life during these years. Now, A Jewish Feminine Mystique? examines how Jewish women sought opportunities and created images that defied the stereotypes and prescriptive ideology of the "feminine mystique." As workers with or without pay, social justice activists, community builders, entertainers, and businesswomen, most Jewish women championed responsibilities outside their homes. Jewishness played a role in shaping their choices, shattering Friedan's assumptions about how middle-class women lived in the postwar years. Focusing on ordinary Jewish women as well as prominent figures such as Judy Holliday, Jennie Grossinger, and Herman Wouk's fictional Marjorie Morningstar, leading scholars explore the wide canvas upon which American Jewish women made their mark after the Second World War.

This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.