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The past few decades have seen a remarkable surge in Jewish influences on American culture. Entertainers and artists such as Jerry Seinfeld, Adam Sandler, Allegra Goodman, and Tony Kushner have heralded new waves of television, film, literature, and theater; a major klezmer revival is under way; bagels are now as commonplace as pizza; and kabbalah has become as cool as crystals. Does this broad range of cultural expression accurately reflect what it means to be Jewish in America today? Bringing together fourteen new essays by leading scholars, You Should See Yourself examines the fluctuating representations of Jewishness in a variety of areas of popular culture and high art, including literature, the media, film, theater, music, dance, painting, photography, and comedy. Contributors explore the evolution that has taken place within these cultural forms and how we can best explain these changes. Are variations in our understanding of Jewishness the result of general phenomena such as multiculturalism, politics, and postmodernism, or are they the product of more specifically Jewish concerns such as the intermarriage/continuity crisis, religious renewal, and relations between the United States and Israel? Accessible to students and general readers alike, this volume takes an important step toward advancing the discussion of Jewish cultural influences in this country.

Postmodernism --- Popular culture --- Jews in popular culture --- Religious aspects --- Judaism.

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Jews in popular culture --- Jews --- Stereotypes (Social psychology) in mass media --- Public opinion

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From immigrant ghetto love stories such as The Cohens and the Kellys (1926), through romantic comedies including Meet the Parents (2000) and Knocked Up (2007), to television series such as Transparent (2014–), Jewish-Christian couplings have been a staple of popular culture for over a century. In these pairings, Joshua Louis Moss argues, the unruly screen Jew is the privileged representative of progressivism, secular modernism, and the cosmopolitan sensibilities of the mass-media age. But his/her unruliness is nearly always contained through romantic union with the Anglo-Christian partner. This Jewish-Christian meta-narrative has recurred time and again as one of the most powerful and enduring, although unrecognized, mass-culture fantasies. Using the innovative framework of coupling theory, Why Harry Met Sally surveys three major waves of Jewish-Christian couplings in popular American literature, theater, film, and television. Moss explores how first-wave European and American creators in the early twentieth century used such couplings as an extension of modernist sensibilities and the American “melting pot.” He then looks at how New Hollywood of the late 1960s revived these couplings as a sexually provocative response to the political conservatism and representational absences of postwar America. Finally, Moss identifies the third wave as emerging in television sitcoms, Broadway musicals, and “gross-out” film comedies to grapple with the impact of American economic globalism since the 1990s. He demonstrates that, whether perceived as a threat or a triumph, Jewish-Christian couplings provide a visceral, easily graspable, template for understanding the rapid transformations of an increasingly globalized world.

Jews in motion pictures. --- Jews on television. --- Jews in popular culture

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"Motivated by Woody Allen's brief comedic transformation into a Hasidic Jew in Annie Hall, cultural historian Shaina Hammerman examines the effects of real and imagined representations of Hasidic Jews in film, television, theater, and photography. Although these depictions could easily be dismissed as slapstick comedies and sexy dramas about forbidden relationships, Hammerman uses this ethnic imagery to ask meaningful questions about how Jewish identity, multiculturalism, belonging, and relevance are constructed on the stage and silver screen"--

Jews in motion pictures. --- Hasidism. --- Jews in popular culture. --- Popular culture --- Chasidism --- Hassidism --- Jewish sects --- Motion pictures

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Der Band nimmt mit Zeitschriftenliteratur, Illustrierten, Buchreihen, Kabarettaufführungen und Purimspielen ein breites Spektrum an populären Phänomenen deutsch-jüdischer und jiddischer Kultur von der Mitte des 19. Jahrhunderts bis in die Nachkriegszeit in den Blick. Schwerpunkte der Untersuchungen liegen in Fragen nach den Verfahrensweisen medialer und institutioneller Vermittlungsinstanzen (Presse, Verlage, Warenhäuser, Boulevard- und Volkstheater), nach der Teilhabe jüdischer Akteure an modernen Massen- und Unterhaltungskulturen und nach den Spezifika einer eigenständig ,jüdischen' Populärkultur. Historiker, Theater- und Literaturwissenschaftler setzen sich dabei mit den verschiedenen Konzeptualisierungen von ,Jüdischem' und ,Populärem' auseinander. Dabei wird die Unterscheidung zwischen Jüdischem und Nichtjüdischem sowie zwischen Populär- und Hochkultur immer wieder problematisiert.

Jews in popular culture --- aJews in popular culture --- Jewish arts --- Arts, Jewish --- Arts --- Popular culture --- History --- Culture/in literature. --- Mass media. --- Popular culture. --- Theatre.