by Eve Sicular

Gender Rebellion

In Yiddish film 

Once upon a time in Manhattan at The Museum of Modern Art, I was at my job, compiling program notes and watching audiences watch old Yiddish films. I was working on a major retrospective show, the 1991-92 “Yiddish Film: Between Two Worlds” series co-sponsored by the National Center for Jewish Film. The biggest draws were The Dybbuk and Yiddle With His Fiddle, both full of gender ambiguities and good music. Somewhere between the labyrinthine back ways to the projection booths, the elevator rides to the film department office, and my subway rides home to the East Village, I began to appreciate Yiddish films in ways I would have never expected.

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