Academic literature on the topic 'Jewish men – fiction'
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Journal articles on the topic "Jewish men – fiction"
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Resnick, Irven M. "Medieval Roots of the Myth of Jewish Male Menses." Harvard Theological Review 93, no. 3 (July 2000): 241–63. http://dx.doi.org/10.1017/s0017816000025323.
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Good historical fiction reveals not only the realities of a particular epoch, but also its cultural attitudes. An excellent example is Bernard Malamud's The Fixer, which succeeds in disclosing the nature of Russian anti-semitism by artfully weaving together enduring themes of anti-Jewish Christian mythology—the blood libel and accusations of ritual murder—to illustrate the fabric of Jewish life in early modern Russia. Perhaps almost unnoticed in his work, however, are references to the myth of Jewish male menses. Consider the following passages from The Fixer, in which the Jewish defendant, Yakov Bok, is confronted by this bizarre contention:“You saw the blood?” the Prosecuting Attorney said sarcastically. “Did that have some religious meaning to you as a Jew? Do you know that in the Middle Ages Jewish men were said to menstruate?” Yakov looked at him in surprise and fright. “I don't know anything about that, your honor, although I don't see how it could be.”
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Sadkowski, Piotr. "La transposition profane de l’Exode dans Moïse fiction de Gilles Rozier." Quêtes littéraires, no. 3 (December 30, 2013): 174–83. http://dx.doi.org/10.31743/ql.4619.
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Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.
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Hollander, Philip. "Rereading “Decadent” Palestinian Hebrew Literature: The Intersection of Zionism, Masculinity, and Sexuality in Aharon Reuveni's ‘Ad Yerushalayim." AJS Review 39, no. 1 (April 2015): 3–26. http://dx.doi.org/10.1017/s0364009414000622.
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This article asserts that politics motivated Aharon Reuveni to employ representations of psychic fragmentation and dysfunctional social institutions to portray Palestinian Jewish life in his novelistic trilogy‘Ad Yerushalayim. These purportedly decadent representations helped him foreground individual and collective flaws he saw limiting the early twentieth-century Palestinian Jewish community's development and promote norms he saw as conducive to growth. Thus, as examination of the trilogy's central male figures demonstrates, Reuveni advances a Zionist masculinity grounded in introspectiveness and ongoing commitment to the achievement of communally shared goals. To further support this Zionist masculine form, the trilogy categorizes men who pursue homosocial ties with others who don't maintain this masculinity as homosexuals. Thus gender and sexuality are used to coerce male readers into adopting specific behavioral norms. This attention to gender and sexuality's role in early twentieth-century Palestinian Hebrew fiction offers a way to grasp its long-overlooked political character.
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Muir, Lissa. "Heroes." After Dinner Conversation 4, no. 11 (2023): 63–74. http://dx.doi.org/10.5840/adc2023411105.
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What human values would you deny to save your life? In this work of philosophical short story fiction, a group of families are on vacation touring Frank Lloyd Wright’s Fallingwater when they hear gunshots. While most are confused, one attuned man realizes the danger and quickly gets the children safely into the basement. The remaining group is then confronted by men with guns looking to sort out, and kill, everyone who are not Christian. They are, they say, trying to bring America back to its true values and roots. An offended black man confronts them, but they assure him, they aren’t racists, they are good Christian men. They kill a Jewish man, who makes clear while he believes Jesus was a good man, but not the son of God. The narrator’s husband is then picked next and asked to confirm his Christian faith. His wife knows he’s an atheist and tries to will him to lie. Instead, her husband confesses both his Canadian citizenship and his lack of Christian faith, and is killed. Shortly thereafter police snipers show up and show the gunmen dead. The families are safe, but the narrator must now explain to their two children in the basement, that their father is dead.
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Żórawska-Janik, Natalia. "Homo Holocaustus, or Autobiographical Female Experience of the Holocaust." Tematy i Konteksty specjalny 1(2020) (2020): 275–92. http://dx.doi.org/10.15584/tik.spec.eng.2020.15.
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The aim of this paper is to present the motif of the Shoah in female autobiographcial prose after the year 2000. The paper shows that, in recent years, more and more female authors in the second and third post-Holocaust generations have been recording their traumatic experience, and that the reason for it lies in the social stigmatization of Jewish people. It is stressed here that the issues of the Holocaust are part and parcel of a cultural taboo and – similarly to female written prose – they are frequently ignored or evaluated negatively. The Holocaust issues are tackled by contemporary young writers of Jewish descent who – contrary to the previous generation authors – have not experienced the mass murder of Jews; nevertheless, they feel its effects today. This paper proves that the research into trauma studies is not really conducted in Poland, and paying attention to a female viewpoint is very rare. The examples referred to in the paper of the autobiographical novels by Ewa Kuryluk, Agata Tuszyńska, Roma Ligocka and Magdalena Tulli demonstrate that this kind of writing is becoming more and more important within the literature focused on the Shoah. Compared to the autobiographical fiction by Marek Bieńczyk, Jan Tomasz Gross and Michał Głowiński, female Holocaust stories are distinguished by their authenticity, emotionality, intimacy and honesty of narration. The stories are devoid of any pathos, and they highlight the figure of a mother. Moreover, their confessions are based on the physical feeling of the legacy which has remained in their hearts and minds after the trauma that their loved ones had to experience. An attempt to describe prose post-Holocaust prose is made in comparison to Jewish literature in Poland, drawing the reader’s attention to the characteristic features of these issues compared to the autobiographical works by men.
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Garstad, Benjamin. "Joseph as a Model for Faunus-Hermes: Myth, History, and Fiction in the Fourth Century." Vigiliae Christianae 63, no. 5 (2009): 493–521. http://dx.doi.org/10.1163/157007208x389875.
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AbstractFaunus-who-is-also-Hermes is one of the composite god-kings dealt with in the polemical Christian 'Picus-Zeus narrative' of the fourth century. The narrative of his life is based on the Biblical account of Joseph, along with the elaborations on Joseph's life in Hellenistic Jewish fiction. Whereas Joseph is a virtuous hero, however, Faunus-Hermes is a villain who practices sorcery and usurpation and ultimately induces men to worship him as a god. The Hellenistic novels and especially the philosophical considerations of Philo of Alexandria accentuate the ambiguities in Joseph which might allow a bad character to be developed out of his good character. The Clementine Recognitions, moreover, offer an understanding of history and human character according to which good and evil come in contrasting and inimical pairs. Altogether, the use of Joseph as a model for Faunus-Hermes allows the author to subtly introduce a moral message in what seems to be a blunt and unadorned history.
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Gruner, Wolf. "The Factory Action and the Events at the Rosenstrasse in Berlin: Facts and Fictions about 27 February 1943 — Sixty Years Later." Central European History 36, no. 2 (June 2003): 179–208. http://dx.doi.org/10.1163/156916103770866112.
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On 27 February 1943 in Nazi Germany the Gestapo brutally arrested more than ten thousand Jewish men and women. Martin Riesenburger, later the Chief Rabbi of the German Democratic Republic, recalled that day as “the great inferno.” This large-scale raid marked the beginning of the final phase of the mass deportations, which had been under way since October 1941. Also interned in Berlin were people who, according to NS terminology, lived in so-called mixed marriages. But new documents show that no deportation of this special group was planned by the Gestapo. In the past decade, in both the German as well as the American public, quite a bit of attention has been paid to the fact that non-Jewish relatives publicly demonstrated against the feared deportation of their Jewish partners. The scholarly literature as well has pictured this protest as a unique act of resistance that prevented the deportation of these Jews living in mixed marriages. The fact that during this raid an untold number of Jews, both women and men, fled and went underground has so far been ignored. Since we still know much too little, the following article will discuss all the events of the spring of 1943 and their background.
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Magonet, Jonathan. "Editorial." European Judaism 55, no. 2 (September 1, 2022): v—vi. http://dx.doi.org/10.3167/ej.2022.550201.
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In our autumn edition in 2014 we published articles from a conference on ‘Writing Jews in Contemporary Britain’. They were guest edited for the issue by Axel Stähler and Sue Vice, the organisers of the conference. In their joint introduction they wrote:Contemporary British Jewish writers are being credited with an ‘attitude’ and their fiction is perceived to celebrate ‘the anarchic potential of the Jewish voice’.It will come as no surprise, particularly given what they quoted about ‘attitude’ and ‘anarchic potential’, that the first Jewish author they mentioned, because of his recent award at the time of the Man Booker Prize, was Howard Jacobson. One of the contributors to that issue was David Brauner writing on ‘Fetishizing the Holocaust: Comedy and Transatlantic Connections in Howard Jacobson’s Kalooki Nights’. When Bryan Cheyette and David Brauner approached the editor of this journal with the proposal to mark and celebrate Howard Jacobson’s eightieth birthday, the editorial board readily accepted the offer. The contents are introduced by Bryan Cheyette, and David Brauner contributes a new interview with Jacobson. The issue also contains a book review by Howard Cooper of David’s recent monograph on Jacobson in the Manchester University Press series Contemporary British Novelists.
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Walsh, Richard G. "Passover Plots." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 2-3 (February 26, 2010): 201–22. http://dx.doi.org/10.1558/post.v3i2/3.3.201.
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Various modern fictions, building upon the skeptical premises of biblical scholars, have claimed that the gospels covered up the real story about Jesus. Dan Brown’s The Da Vinci Code is one recent, popular example. While conspiracy theories may seem peculiar to modern media, the gospels have their own versions of hidden secrets. For Mark, e.g., Roman discourse about crucifixion obscures two secret plots in Jesus’ passion, which the gospel reveals: the religious leaders’ conspiracy to dispatch Jesus and the hidden divine program to sacrifice Jesus. Mark unveils these secret plots by minimizing the passion’s material details (the details of suffering would glorify Rome), substituting the Jewish leaders for the Romans as the important human actors, interpreting the whole as predicted by scripture and by Jesus, and bathing the whole in an irony that claims that the true reality is other than it seems. The resulting divine providence/conspiracy narrative dooms Jesus—and everyone else—before the story effectively begins. None of this would matter if secret plots and infinite books did not remain to make pawns or “phantoms of us all” (Borges). Thus, in Borges’ “The Gospel According to Mark,” an illiterate rancher family after hearing the gospel for the first time, read to them by a young medical student, crucifies the young man. Eco’s Foucault’s Pendulum is less biblical but equally enthralled by conspiracies that consume their obsessive believers. Borges and Eco differ from Mark, from some scholarship, and from recent popular fiction, in their insistence that such conspiracy tales are not “true” or “divine,” but rather humans’ own self-destructive fictions. Therein lies a different kind of hope than Mark’s, a very human, if very fragile, hope.
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Ali, Baida Abbas. "THE PANORAMIC SOCIAL NOVEL IN MODERN HEBREW LITERATURE READING IN SAMI MICHAEL'S FICTION." International Journal of Humanities and Educational Research 04, no. 01 (February 1, 2022): 264–79. http://dx.doi.org/10.47832/2757-5403.12.19.
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Sami Mikhail's novel productions have recently received considerable attention from critics, scholars and researchers around the world. Perhaps this is due to the fact that his literary products serve as an artistic tool for awareness of the fate of the Jewish immigrant or citizen and his psychology and behaviors, and the daily reality lived and lived by the Iraqi or Israeli society, and the issues and transformations that occur in the life of the Israeli, as well as thanks to its artistic formulation and its substantive objectives. Many analysts saw Sami Michael's novels as a reflection of society and its current reality. Sami Michael was distinguished by his choice of the panoramic novel model because it is a mirror of the Israeli society with all its satisfactory and illuminated details, which may be difficult to engage in other literary genres, especially in monitoring social transformations, cultural changes, environmental and living developments and their repercussions in the lives of Israeli immigrants in the past century and the present century. Thinking and behaviors in society, as well as a clear expression of the traditions and values of Israeli society, addressing issues of concern to man, and the accounts of Sami Michael the Israeli-Jewish-Iraqi individual, And his concerns and issues and conflicts intellectual, psychological, cultural and emotional, and presented many solutions to the problems related to his existence and psychological and social conflicts, according to the vision of the author.
Books on the topic "Jewish men – fiction"
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Jaffe, Daniel M. Jewish gentle: And other stories of gay-Jewish living. Maple Shade, N.J: Lethe Press, 2011.
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The wise men of Helm and their merry tales. West Orange, NJ: Behrman House, Publishers, 1996.
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Sobel, Eliezer. Minyan: Ten Jewish men in a world that is heartbroken. Knoxville: University of Tennessee Press, 2004.
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Lewisohn, Ludwig. The island within. Syracuse, N.Y: Syracuse University Press, 1997.
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Hall, Richard Walter. Family fictions: A novel. New York: Penguin, 1992.
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Brett, Lily. Too many men. Sydney: Pan Macmillan Australia, 2000.
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Brett, Lily. Too Many Men. New York: HarperCollins, 2006.
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The white life of Felix Greenspan. Milpark [South Africa]: M&G Books, 2002.
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Aaron, Chester. Black and blue Jew: A novel. Berkeley, Calif: Creative Arts Book Co., 2002.
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Cohen, Colin. House of kidz. Beverly, MA: CC 600, 1999.
Find full textBook chapters on the topic "Jewish men – fiction"
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"Chapter 4 Identity and Assimilation in Jewish American Fiction." In Anxious Men, 160–95. Edinburgh University Press, 2020. http://dx.doi.org/10.1515/9781474423885-006.
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Sawyer, John F. A. "The Prophets (I): Moses to Huldah." In Prophecy and the Biblical Prophets, 67–81. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198262107.003.0004.
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Abstract From a thematic survey of prophecy we move on to examine the prophets themselves. Generalizations are valuable, but biblical tradition has preserved stories about named prophets, together with a few unnamed ‘men of God’, sufficiently different from one another to be examined as individuals. In some instances, place and date of birth, parentage, and other biographical details are given. In others almost nothing is known of them apart from a name and what they are reported to have said. Our task is to collect what material there is on each one of them, set it against what we know of social, political, and religious conditions in ancient Israel, and hopefully reconstruct a convincing and consistent story of each individual’s prophetic achievements. We shall not be concerned exclusively with what the prophets actually did or suffered, however, or with what they actually said. We must also take seriously how tradition represents them, fact or fiction; and we cannot always distinguish the one from the other since it is in that form that they have influenced believing communities, Jewish, Christian, and Muslim, long after their actual achievements and original audiences had been forgotten.
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Gollance, Sonia. "“What Comes From Men and Women Dancing”." In It Could Lead to Dancing, 173–84. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0008.
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The epilogue connects tropes of the nineteenth and early twentieth centuries of Jews, dance, and modernization with late twentieth- and twenty-first-century representations. Popular works such as Fiddler on the Roof (1964), Dirty Dancing (1987), Rebecca Goldstein’s Mazel (1995), Kerry Greenwood’s Raisins and Almonds: A Phryne Fisher Mystery (1997), Helene Wecker’s The Golem and the Jinni (2013), and Naomi Novik’s Spinning Silver (2018) reveal the continued efficacy of the mixed-sex dancing trope in fictional representations of Yiddish-speaking Jews. These works are often less didactic than nineteenth-century predecessors; they envision more opportunities for female agency and frequently end happily. Not only is the dance floor a flexible space, the dance trope is a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions. In other words, the trope of Jewish mixed-sex dancing charts the particularities of the Jewish “dance” with modern culture.
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Freedman, Jonathan. "The Temple of Culture and the Market for Letters: The Jew and the Way We Write Now." In The Temple Of Culture, 55–88. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195131574.003.0003.
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Abstract IN CHAPTER 1 I argued that Jews were much on the minds of nineteenth-century intellectuals in England and America, and in a completely new way, as they began to think of themselves as intellectuals, using the conceptual equipment bequeathed them by their German and other Continental counterparts. But it needs to be added that some of the most important deployments of the figure of the Jew can be found in the genre that, at precisely this moment, was simultaneously experiencing huge popular success and struggling to affirm its artistic prestige: the novel. In this chapter, I want to parse this particular deployment of the figure of the Jew by asking the most vexing (and unanswerable) question of literary analysis: why? Or, more specifically, why here, why in the sphere of high-cultural literary production? After all, in the category-mad nineteenth century, it is unsurprising to find that race theorists, sexologists, and ethnographers all grappled with the question of Jewish difference. At a time when the mass literary market was booming and evangelical culture predominating, it is also unastonishing to discover solemn, didactic romances of Hebrew history circulating in the low- and middlebrow arenas of popular fiction. General Lew Wallace’s Ben Hur (1880) climbed the first bestseller lists in America; Marie Corelli’s Barabbas (1892) did the same in England. Nor, when we turn from the philo Semitic 1880s to the anti-Semitic, antialien 1900s, is it odd to find Edgar Wallace’s paranoid fantasies of world domination by Jewish aliens, anarchists, and Bolsheviks-books like The Four Just Men (1904) or The Council of Justice (1908)-supplanting their more benign biblical precedents in a march into bestsellerdom. What is startling is that Jews should figure with such prominence in a literary culture that was beginning to think of itself as just that, as a distinct zone of imaginative endeavor possessing a distinct and powerful, even redemptive, social mission. And it is equally startling that the matter of Jewry should have been so prominent in the project of self-validation undertaken by writers entering into that zone.
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Lewin, Judith. "The Sublimity of the Jewish Type: Balzac’s Belle Juive as Virgin Magdalene aux Camélias." In Jewishness, 239–71. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113454.003.0011.
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This chapter studies the Jewish female character in French literature. The Jewish woman's difference from feminized Jewish men and marriageable Christian women is not enough to delineate her specificity and hence her function as a fictional character. She is also seen through the lens of orientalism, because of the constructed image of her roots in the Middle East as a member of the ‘Hebraic’ or ‘Israelite’ race. The French Romantic writer Chateaubriand suggested that the treatment of Jews by Christian society varied according to their gender and physical appeal. He argued that Jewish women were exempted from perpetual misery and persecution by the grace Jesus accorded to Mary Magdalene, and that this was the root of Christian men's attraction to and sexual associations with Jewish women. The chapter then presents specific examples of representations of Jewish women: in this case the Jewish woman in Paris of the 1830s and 1840s as she appears in Honoré de Balzac, one of the nineteenth century's most popular and influential European writers. While Balzac had limited contact with actual Jewish women in Paris, the figures he created had a tremendous influence on the rhetoric of representing what has come to be known as la belle Juive.
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Hoelzel, Alfred. "Thomas Mann’s Attitudes Toward Jews and Judaism: An Investigation of Biography and Oeuvre." In Studies In Contemporary Jewry An Annual, 229–53. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061888.003.0010.
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Abstract Thomas Mann (1875-1955), one of Germany’s finest novelists, ranks securely among the giants of twentieth-century literature. However, Mann’s significance extends much beyond his fiction. As an intellectual whose career traversed seven fateful decades of German history and culminated in American and Swiss exile during a cataclysmic war and its controversy-filled aftermath, Mann, unlike such men as Rainer Maria Rilke or Hermann Hesse, never chose to stand aloof from the hurly-burly of his time. On the contrary, Mann’s intimate engagement with his socio-political environment—from Wilhelminian imperialism to Weimar republicanism, from Nazi dictatorship to the Rooseveltian New Deal, from McCarthy paranoia to European reconstruction—constitutes a distinctive dimension of his legacy. By the time Mann was living in the United States, journalists seeking an interview often had to specify whether their interest was literary or political. In one of his letters, written on the eve of the Second World War, Mann defended his indefatigable public crusade against Nazi tyranny by quoting Goethe, “What now counts is how much one weighs on the scale of humanity; everything else is insignificant.”1
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Newton, Adam Zachary. "Incognito Ergo Sum." In Race and The Modern Artist, 140–83. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195123234.003.0009.
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Abstract The epigraph to this essay traces parallel lines from lineage to culture to exile to desire (for redemption), but the vantage point in Joyce’s most modernist of texts is purposely retrospect. With modernity added as a fifth element to Joyce’s cultural itinerary, and with American blacks and American Jews standing in for Hebrews and Gaels, the trajectories marked out by the five texts I discuss in this essay become visible. The Rise of David Levinsky, by Abraham Cahan; The Autobiography of an Ex-Colored Man, by James Weldon Johnson; Passing, by Nella Larsen; and “Soap and Water” and “Children of Loneliness,” by Anzia Yezierska: each of these fictions offers a study in ethnic erasure and self-fashioning. In each, what classical poetics calls recognition—albeit amplified from plot lineaments to the thematic and the political—takes the form of that small mark either linking (hyphen) or subtracting (minus sign) “American” to and from ethnoracial identity-the sign that one’s people is inflected by modernity. Though the mark itself is actually visible only in the case of the Ex-Colored Man—it hyphenates his very name—it plays no less a constitutive role for the protagonists of the other fictions in as much as they ride or pass under its sign.
Conference papers on the topic "Jewish men – fiction"
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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.
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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.