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Tevya is a 1939 American Yiddish film, based on author Sholem Aleichem's stock character Tevye the Dairyman, also the subject of the 1964 musical Fiddler on the Roof. [2] It was the first non-English language picture selected for preservation by the National Film Registry .
In North American and other diaspora Jewish communities, the use of "shiksa" reflects more social complexities than merely being a mild insult to non-Jewish women. A woman can only be a shiksa if she is perceived as such by Jewish people, usually Jewish men, making the term difficult to define; the Los Angeles Review of Books suggested there ...
In 2014, she moved to Berlin, continued to work as a writer, [8] and published Exodus: A Memoir. [8] [9] Both books have been translated into German, and were well received by critics, which led to her appearing on various talk shows on German TV. [10] [11] Feldman is featured in the 2018 Swiss-German documentary #Female Pleasure. [12]
Feldman grew up as a member of the Hasidic Satmar group in Williamsburg, Brooklyn, New York City. [2] She has written that her father was mentally impaired, and that her paternal family had arranged a marriage for him to her mother, whom Feldman described as an intelligent woman who was an outsider to the community because she was of German Jewish origin.
The Dybbuk, or Between Two Worlds (Yiddish: דער דיבוק, אדער צווישן צוויי וועלטן; Der Dibuk, oder Tsvishn Tsvey Veltn) is a 1914 play by S. Ansky, relating the story of a young bride possessed by a dybbuk – a malicious possessing spirit, believed to be the dislocated soul of a dead person – on the eve of her wedding.
A Gesheft (Yiddish: א געשעפט, The Deal) is a 2005 action film, with a religious message, in the Yiddish language, made by Haredi Jews from Monsey, New York.It is the first film made by Haredi Jews entirely in Yiddish.
On review aggregator website Rotten Tomatoes, the film has an approval rating of 90%, based on ten reviews, with an average rating of 6.33/10. [6] On Metacritic, which assigns a normalized rating, the film has a score of 59 out of 100, based on 7 critics, indicating "mixed or average reviews".
Richard Elman commented on these themes in a review of Blinken's work in the 1980s, writing in The New York Times that in the community of Yiddish authors who wrote for the largely female literary audience of Yiddish fiction, Blinken "was one of the few who chose to show with empathy the woman's point of view in the act of love or sin". [3]