BLACKFACE, WHITE NOISE

JEWISH IMMIGRANTS IN THE HOLLYWOOD MELTING POT

Over-argued, under-organized examination of the cultural significance of blackface in American film. Blackface is one of those phenomena that time has made almost utterly incomprehensible. What was there about the sight of a white man, ``all corked up,'' performing as a black minstrel, that appealed to audiences? Certainly, there was a transgressive thrill in this carnivalesque appropriation of identity, but how to explain its phenomenal popularity, not only in vaudeville but in movies right through WW II? Rogin's (Ronald Reagan, The Movie, 1987, etc.) answer is that blackface was a way for new Americans—particularly Jewish immigrants—to join the mainstream: ``Blackface flourished in the transitional period when immigrants and their children were leaving behind Old World identities and trying on new ones.'' Rogin may be on to something. From its very beginnings Hollywood was run largely by Jewish businessmen. Again, the first ``talkie,'' The Jazz Singer, was all about a Jewish blackface performer. This is tantalizing evidence, but Rogin goes too far when he tries to make blackface into a great Archimedean lever of American culture: ``The view through burnt cork places race relations at the center of mass politics and culture in the United States.'' This kind of sweeping overstatement is typical of Rogin's style. He also refuses to quit when he's ahead. Rogin tries unsuccessfully to extend his argument up to the period when real black acvtors began appearing in films by taking it to absurd extremes. For example, Singin' in the Rain reflects ``anxiety about black dance influence.'' In comparison to his analysis of blackface, his treatment of Jewish assimilation also seems insufficient. An intelligent but sometimes too clever deconstruction of this strange, disquieting aspect of early cinema. (61 b&w photos, not seen)

Pub Date: June 1, 1996

ISBN: 0-520-20407-7

Page Count: 336

Publisher: Univ. of California

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 1996

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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