From the Jewish Daily Forward, October 9, 2012. — J.R.
Hollywood’s Chosen People:
The Jewish Experience in American Cinema
Edited by Daniel Bernardi, Murray Pomerance, and Hava Tirosh-Samuelson
Wayne State University Press, 270 pages, $31.95
The coeditors stake their claim in the first sentence of their Introduction: “This book sets out to mark a new and challenging path of the role of Jews and their experience in Hollywood filmmaking.” And to some degree, they live up to this goal, in a varied collection that tends to get livelier as it proceeds. But considering how slippery and elastic their definitions of “Jews” can be, part of their path strikes me as both familiar and questionable.
Fritz Lang, for instance, gets cited over a dozen times in the book’s index, but for me his inclusion is fully justified only once — in a fascinating article by Peter Krämer that charts diverse efforts over four decades to make a movie about Oskar Schindler that preceded Steven Spielberg’s Schindler’s List in 1993, many of them launched by Schindler himself, who had a lengthy correspondence with Lang about the first of these projects in 1951. Virtually all the other references assume that Lang was a Jew because of his mother’s origins—a default position held in spite of his being raised solely as a Catholic and apparently never betraying the slightest interest in identifying himself any other way.… Read more »
From Cineaste, Fall 1998. –J.R.
Speaking About Godard
by Kaja Silverman and Harun Farocki; foreword by Constance Penley. New York/London: New York University Press, 1998. 245 pp., illus. Hardcover: $55.00, Paperback: $17.95.
Negative Space: Manny Farber at the Movies (expanded edition)
by Manny Farber; preface by Robert Walsh. New York: Da Capo Press, 1998. Paperback: $15.95.
Kaja Silverman and Harun Farocki’s dialogues about eight features by Jean-Luc Godard, stretching from Vivre sa vie (1962) to Nouvelle vague (1990), is a book I’ve been awaiting ever since coming across its sixth and seventh chapters, on Numéro deux (1975) and Passion (1981), in issues of the journals Camera Obscura and Discourse, respectively. The two best critical studies I’ve encountered anywhere of these difficult, neglected masterworks, they manage to account for a great deal of what’s going on in them, metaphorically, ideologically, and intellectually, and the graceful division of labor between the two critics as they proceed through the films — roughly speaking, a dialectical exchange between Freud (Silverman) and Marx (Farocki) — makes the process of their exploration all the more illuminating. Silverman, a film theorist who teaches at Berkeley, and Farocki, a German essayistic filmmaker with over seventy films to his credit, are both primarily concerned with what these two films mean, and they attack this question with a great deal of lucidity and rigor.… Read more »