Título: | YIDDISH CINEMA IN CENTRAL AND EASTERN EUROPE: AN UNEARTHED PASSPORT THAT RESISTS AND REASSEMBLES THE IMAGINARY OF YIDDISH CULTURE | ||||||||||||
Autor: |
MARCIA ANTABI |
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Colaborador(es): |
ANDREA FRANCA MARTINS - Orientador |
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Catalogação: | 06/FEV/2023 | Língua(s): | PORTUGUESE - BRAZIL |
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Tipo: | TEXT | Subtipo: | THESIS | ||||||||||
Notas: |
[pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio. [en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio. |
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Referência(s): |
[pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=61840&idi=1 [en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=61840&idi=2 |
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DOI: | https://doi.org/10.17771/PUCRio.acad.61840 | ||||||||||||
Resumo: | |||||||||||||
Yiddish cinema is briefly mentioned in the bibliography on the world history
of cinema. Starting from this gap, the current research, carried out in the context of
this doctoral dissertation, presents the scenario of the emergence of cinema spoken
in Yiddish, originated from Yiddish theater, with the aim of including this cultural
and artistic practice in the field of historical film studies. The argument is that the
gesture of unearthing the yiddish cinema, as part of a contemporary revival of
yiddish culture, works as a pass for transmission and resistance to its total erasure.
The Passport-cinema crosses different temporalities and allows an immersion in
culture, through research in the archives of images of the daily life of the Jewish
communities in Poland during the interwar period. To support the issue of the
absence of Yiddish cinema in the biography of world cinemahistory, four films are
investigated: Mir Kumen On (We are Coming, Aleksander Ford, 1936), Yidl mitn
Fidl (Yidl and the Violin, Joseph Green e Jan Nowina- Przybylski, 1936), Der Dibuk
(The Dibuk, Michał Waszyński, 1937) and Um dia em Varsóvia (A Day in Warsaw,
Saul e Yitzhak Goskind, 1939). In addition to the narratives, we bring the history
of the films and their directors, with the always necessary purpose of conveying the
importance of preserving the memory of Yiddish culture through cinema, as well
as the film fragments that survived the Shoah genocide, and the central aspects that
emerge from these narratives.
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