Jewish Women on Stage, Film, and Television

Mock, Roberta

doi:10.1007/978-1-137-06713-5

Cited by 8 publications

(2 citation statements)

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“…He also refers to her “Otherness,” her alienation from the French culture and language. Roberta Mock rightfully asserts that “la belle juive is both hyperfeminine [and eroticized] and perversely masculine, usually represented as a femme fatale who lures men to their death…the female Jewish body at that time was erotically marked by its non-conjunction with musicality” (2007, 19). Some interesting questions to be asked are: Whether Félix emulated or enacted the Semitic image when dressed for the stage?…”

Section: Rachel Félix's Artistic Representationsmentioning

confidence: 99%

Unpacking Rachel Félix's “constructed” and “self-constructed” Jewishness

Rabinovich

2021

French Cultural Studies

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This paper aims at unpacking the cultural, historical and political significance behind the representations (including pictures, caricatures, journalistic articles, etc.) and self-representations of Rachel Félix (1821–1858), the first prominent Jewish performer on the French and British and American stage, as a prism which may afford a broader discussion about the literary formations of the figure the Jewish female artist Félix, renowned for her exquisite beauty and daring sensuality, serves as an excellent paradigm of how Jewish artists used and, at times, manipulated their “biblical"/"oriental"/ “sensual” beauty with the aim of promoting their artistic career. My discussion, adopting a New Historicist outlook, also aims at explaining the correlation between such literary formations and their political implications with regards to the representation of Jewish artists. Since the identity of an actress is so obviously “constructed,” and because of the intricate relationship between the Jewishness, artistic vocation and femininity, the figure of Félix provides a direct engagement with a particular set of cultural and political assumptions about Jewish female artists. Looking at Félix's literary and artistic representations by her contemporaries and at her own self-representation as reflected on the stage and in her letters leads us to a better understanding of the relationship between the cultural, political and artistic constructs of Jewish female artists.

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Section: Rachel Félix's Artistic Representationsmentioning

confidence: 99%

Unpacking Rachel Félix's “constructed” and “self-constructed” Jewishness

Rabinovich

2021

French Cultural Studies

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“…Both Shaina Hammerman, in her analysis of Jewish female comedians (49–71), and Roberta Mock, in a more broad examination of Jewish women's performances (1–15), observe that Jewish men are seen primarily as Jews, while Jewish women are perceived first as women and only secondarily as Jews. Mock further suggests that “when female performers are analyzed with reference to their Jewishness, then their ‘Womanness’ strangely disappears.…”

Section: Broad City and Pleasurable Failuresmentioning

confidence: 99%

Failing Adulthood, Queering Girlhood: Perpetual Adolescence in Broad City and Girls

Kamińska¹

2020

The J of Popular Culture

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it is easy to observe that TV shows created, written, directed, and produced by young women have become increasingly popular. In these examples, young women not only (co)create their narratives but also play the main role in the series, gaining much control over the images of young women they produce. Women in their twenties and thirties-who often identify as girls rather than women-do not hesitate to portray the most private, and often embarrassing, experiences. Yet, their struggles and difficulties do not serve as a pretext for an inspiring narrative about overcoming obstacles or finding inner strength. While numerous female creators attempt to broaden the representation of strong female leads in culture and media, young women construct characters who could be read as refuting those representations. Girls have unsatisfying, underpaid jobs and struggle to maintain romantic relationships or simply reject the idea. Their somewhat belated adolescence is, in fact, reflected in the self-identifying term "girls," which signifies the characters' incapacity to grow up. This article focuses on two TV series created by women in their twenties and early thirties: Lena Dunham's Girls, a critically acclaimed comedy-drama about four female friends living in New York City, and Ilana Glazer and Abbi Jacobson's Broad City, a comedy about the everyday lives of Abbi and

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Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville

Simone¹

2019

Theatre Research International

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This article discusses Sophie Tucker's racialized performance in the context of early twentieth-century American vaudeville and black–Jewish interracial relations. Tucker's vaudeville musical acts involved mixed racial referents: ‘black-style’ music and dance, Jewish themes, Yiddish language and the collaboration of both African American and Jewish artists. I show how these racial combinations were a studied tactic to succeed in white vaudeville, a corporate entertainment industry that capitalized on racialized images and fast changes in characters. From historical records it is clear that Tucker's black signifiers also fostered connections with the African American artists who inspired her work or were employed by her. How these interracial relations contended with Tucker's brand of racialized performance is the focus of the latter part of the article. Here I analyse Tucker's autobiography as a performative act, in order to reveal a reparative effort toward some of her exploitative approaches to black labour and creativity.

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Jewish Women on Stage, Film, and Television

Cited by 8 publications

References 0 publications

Unpacking Rachel Félix's “constructed” and “self-constructed” Jewishness

Unpacking Rachel Félix's “constructed” and “self-constructed” Jewishness

Failing Adulthood, Queering Girlhood: Perpetual Adolescence in Broad City and Girls

Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville

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