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Film

Eleanor Antin

A seminal figure in the history of performance art, Eleanor Antin is one of the most prolific artists of the last three decades, moving freely in many forms of media, including live and installation art, independent film, photography, video, drawing, painting and writing.

Gila Almagor

She has appeared in approximately forty Israeli feature films, dozens of stage plays and television dramas. Her starring roles in films include Siege, 1969; Highway Queen, 1971; House on Chelouche Street, 1973; My Mother the General, 1979; Summer of Aviya, 1988; Life According to Agfa, 1992; Sh’chur, 1994; and Passover Fever, 1995.

Advertising and Consumer Culture in the United States

In the twentieth century, Jewish women played a disproportionate role in the development of American consumer culture because of a combination of factors. For one, American industry became increasingly consumer-oriented, and consumer industries were comparatively open to small entrepreneurs. For another, Jewish immigrants and their children tended to display strong entrepreneurial tendencies.

Anouk Aimée

Anouk Aimée is perhaps best known for her remarkable presence as an icon of cool, sophisticated beauty in more than seventy films across seven decades, including such classics as Alexandre Astruc’s Le Rideau Cramoisi (The Crimson Curtain, 1952), Federico Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Jacques Demy’s Lola (1963), André Delvaux’s Un Soir, un Train (One Evening, One Train, 1968), George Cukor’s Justine (1969), Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), Robert Altman’s Prêt à Porter (Ready to Wear, 1994) and, most unforgettably, Claude Lelouch’s Un Homme et une femme (A Man and a Woman, 1966)

Stella Adler

At Stella Adler’s death in 1992, Robert Brustein wrote in The New Republic, “Stella Adler’s death … represents a major loss in the pantheon of theater greats. Through the strength of her convictions, the integrity of her character, and the brilliance of her mind, Adler embodied the art of the dramatic profession and remained an influential figure throughout a career that spanned most of the century.”

Vamping with Theda Bara (Who?!)

One of the highlights of our work at the Jewish Women’s Archive is uncovering hidden histories. In our This Week in History profile this week, we are looking back at silent film star Theda Bara.

Molly Picon: A Celebrity for the Ages

Years ago, when I was working on my undergraduate thesis on Yiddish film, I attempted conversation about the subject at cocktail parties (well, at that point they weren’t yet cocktail parties, but there were definitely M&Ms) –

“Yiddish? Film? What? Like Yentl?”

No. Not like Yentl. They’re in Yiddish! And most of them were originally Yiddish theater productions. Molly Picon? ... No?... Nobody?... Nevermind. Is it hot in here? Pass the M&Ms.

Comedy, Cultural Memory & Legacy

In a recent session of my comedy class for Jewish high schoolers, I instructed the students to re-do a scene in the style of the "Tonight Show with Johnny Carson." I might as well have said "gee willakers" and put on my newsies cap.

Who Does She Think She Is?

This past weekend I saw a documentary film called Who Does She Think She Is?. The film profiles five female artists who are also mothers, as well as several commentators including Tiffany Shlain, creator of The Tribe, and Courtney Martin author of Perfect Girls, Starving Daughters and contributor to Feministing.com.

Joan Rivers as Yoda

I've always had a soft spot for Joan Rivers. Once, as a student at Barnard, (BC '98), Rivers's Alma Mater, I was highlighted by a Barnard publication for my work as a comedian, and was noted to be "the next Joan Rivers." Erroneously, this allowed me to believe that we were secret best friends, and that if ever I was to meet Joan -I would say "Hello, I am the next You; we are best friends, yes?"  Also erroneous is the claim itself - there is no "Next Joan Rivers" - she is irreplaceable  (nor do I come close).

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How to cite this page

Jewish Women's Archive. "Film." (Viewed on October 1, 2014) <http://jwa.org/topics/film>.

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