"Since when is Fran Drescher Jewish?" This was Chiara Francesca Ferrari's reaction when she learned that Drescher's character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this "ventriloquism" as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe. At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word "mafia" and all regional references to Sicily. The result of Ferrari's three case studies is evidence that "otherness" transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.

Known and loved by millions around the world as the star of the top-rated CBS TV series The Nanny, Fran Drescher tells her hilarious life story and offers a fresh, funny, and irreverent backstage look at Hollywood and its stars. "The unsinkable kid from Queens isn't a whiner, she's a winner." --People The #l New York Times bestseller. Fran Drescher's unique comic talent, trademark New York accent, and brash persona have made her the queen of prime time, and the only successor to TV's last great sitcom queen, Roseanne. For fans of bestsellers by such comedians as Jerry Seinfeld, Tim Allen, Paul Reiser, and Ellen DeGeneres. Illustrated with black and white photos throughout.

Explicating one of the most potent and recurring mass-culture fantasies, this book explores Jewish-Christian couplings across a century of popular American literature, theater, film, and television.

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.

In this humorous work, Brook explores the cultural significance of the recentunprecedented explosion in "Jewish" sitcoms.

The actress-comedian tells of her struggle to get her cancer diagnosed and treated.

“Since when is Fran Drescher Jewish?” This was Chiara Francesca Ferrari’s reaction when she learned that Drescher’s character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this “ventriloquism” as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe. At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word “mafia” and all regional references to Sicily. The result of Ferrari’s three case studies is evidence that “otherness” transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.