Olga Gershenson
Olga Gershenson is Assistant Professor of Judaic and Near Eastern Studies at the University of Massachusetts in Amherst. She is the author of "Gesher: Russian Theatre in Israel" (Peter Lang, 2005) and co-editor of "Ladies and Gents" (Temple UP, 2009). She is now working on a book about Jewish themes in Russian cinema.
Israeli Film with a Russian Accent
Does ????? mean Shalom?
Film, Global History & Culture, Israel
- Friday 1:30PM–2:45PM Festival Room
There are today a million Israelis hailing from the former Soviet Union, including filmmakers and actors. In this session we will survey several Russian-Israeli films, and learn what is distinct about their vantage point, and their use of language and accent. We will explore how these films reflect and shape Israeli identity, and their place in contemporary Israeli culture.
Russian-Jewish Film I: "Daddy" (2004)
Film, Global History & Culture, Identity & Responsibility
- Thursday 9:40PM–11:40PM Congressional Room 2
In the 1920s Abram is dreaming of a musical career for his son David and forces him to play violin. The Jewish dream comes true, and David plays Chaikovsky’s concerto in a Moscow conservatory. Yet, World War II interrupts his rise to fame… This visually rich moving tale encompasses the history and present lives of Russian Jews, weaving together themes of Holocaust, migration, intermarriage, and social mobility.
Russian-Jewish Film II: Roots (2005)
Film, Global History & Culture
- Saturday 7:30PM–9:40PM Congressional Room 2
Who are the Russian Jews today? How do they see themselves vis-à-vis Western Jews? “Roots” hints at some answers. The premise is a meeting between the naive westerners in search of long-lost relatives in the old country and enterprising locals trying to earn a few bucks on heritage tourism. Mixing and matching cultures, languages, and gags, “Roots” dishes out its bizarre twisted comedy.
Mazel Tov, Comrades!
Jewish Wedding on Soviet Screen
Film, Global History & Culture, Identity & Responsibility
- Sunday 11:30AM–12:45PM Tower VIP Room
In this session we will observe the transformation of cinematic weddings in several Soviet-Jewish pre-war films. In Yiddish movies the wedding is always Jewish, with idealized and detailed ritual. In contrast, in Soviet-Jewish film, the wedding is gradually transformed from religious to secular, and from in-group to intermarriage. What does this transformation mean for Soviet Jewish identity?
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