Cinema
In the era when Yiddish theatre was still a major force in the world of theatre, over 100 films were made in Yiddish. Many are now lost. Prominent films included Shulamith (1931), the first Yiddish musical on film His Wife's Lover (1931), A Daughter of Her People (1932), the anti-Nazi film The Wandering Jew (1933), The Yiddish King Lear (1934), Shir Hashirim (1935), the biggest Yiddish film hit of all time Yidl Mitn Fidl (1936), Where Is My Child? (1937), Green Fields (1937), Dybuk (1937), The Singing Blacksmith (1938), Tevye (1939), Mirele Efros (1939), Lang ist der Weg (1948), and God, Man and Devil (1950).
The roster of Jewish entrepreneurs in the English-language American film industry is legendary: Samuel Goldwyn, Louis B. Mayer, the Warner Brothers, David O. Selznick, Marcus Loew, and Adolph Zukor, to name just a few, and continuing into recent times with such industry giants as super-agent Michael Ovitz, Michael Eisner, Lew Wasserman, Jeffrey Katzenberg, Steven Spielberg, and David Geffen. However, few of these brought a specifically Jewish sensibility either to the art of film or, with the sometime exception of Spielberg, to their choice of subject matter. The historian Eric Hobsbawm described the situation as follows:
It would be ... pointless to look for consciously Jewish elements in the songs of Irving Berlin or the Hollywood movies of the era of the great studios, all of which were run by immigrant Jews: their object, in which they succeeded, was precisely to make songs or films which found a specific expression for 100 per cent Americanness.A more specifically Jewish sensibility can be seen in the films of the Marx Brothers, Mel Brooks, or Woody Allen; other examples of specifically Jewish films from the Hollywood film industry are the Barbra Streisand vehicle Yentl (1983), or John Frankenheimer's The Fixer (1968).
Read more about this topic: Secular Jewish Culture
Famous quotes containing the word cinema:
“For me, the cinema is not a slice of life, but a piece of cake.”
—Alfred Hitchcock (1899–1980)
“Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another. It’s a language made of image. And in the real cinema, every object and every light means something, as in a dream.”
—Frederico Fellini (1920–1993)
“If an irreducible distinction between theatre and cinema does exist, it may be this: Theatre is confined to a logical or continuous use of space. Cinema ... has access to an alogical or discontinuous use of space.”
—Susan Sontag (b. 1933)