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Joanna Ostrowska

Joanna OstroWsk a Po l s k i e B u r k i — Po l i s h B o u r e ka s

“Bourekas films” are a film genre. A genre from which there was no escape. In this country, the potential audience that comes to see films constitutes an intersection of people coming from different countries … so many kinds and types of people… in order to reach such a public … you must have some common denominator… The films. I made dealt with these people and spoke to this audience. These films are entirely local, although they partially succeeded abroad … “Bourekas films” deal with our local folklore in its different colorings. Then came journalists and … wise and beautiful souls who said that “ethnic” is “bad.” Why is it bad? Why is it bad to deal with ethnic groups and ethnicity? After all, this is our situation. There are Ashkenazim and Frenks (colloquial pejorative for Sephardim) and they don’t like each other. Period. This is a fact and there is nothing we can do about it. —— B. Davidson (a)

The bourekas Bourekas are pies made from, for example, filo dough, and stuffed with various fillings — from spinach through potatoes or meat to cheese. The fillings are enfolded in dough, hence the name that refers to the action of wrapping and twisting. Bourekas resemble pitta, a multilayer pancake, and are one of the most popular snacks in the Middle East — a traditional fast food. � Films from that genre, made in Israel mainly in the 1960s and 1970s (the two “waves”), were associated with the snack because of the ethnic references and the desire to point to something traditional and widely recognizable. Just like fast food, the “bourekas films” were supposed to be easy, light and enjoyable. Their goal was to make the audience happy (comedies), to bring respite in times of war and political crisis (i.a. the Six-Day and Yom Kippur Wars). �

a

Boaz Davidson — b. 1943, Israeli director, creator of the “bourekas films,” author of the name of that film genre, which refers to the subgenre of “spaghetti western” (westerns produced in Italy). In both cases the point is a reference to a traditional meal from the particular country. Selected filmography: Charlie Ve’hetzi (1974); Hagiga B’Snuker (1975); Lupo B’New York (1976). Today Davidson primarily works as an executive producer for “American blockbusters,” such as: The Black Dahlia (2006, directed by Brian De Palma), Trespass (2011, directed by Joel Schumacher), The Legend of Hercules (2014, directed by Renny Harlin), The Expendables 3 (2014, directed by Patrick Hughes). Quote by Boaz Davidson from the book by E. Shohat: Israeli Cinema. East/West and the Politics of Representation, (I. B. Tauris, London, New York, 2010), p. 114 87

Profile for POLIN Museum of the History of Polish Jews

Presence/ Absence/ Traces. Contemporary Artists on Jewish Warsaw  

March 11 - April 25, 2016 Entry is free of charge The works presented in the exhibition were made during 13 artistic residencies at POLIN Mu...

Presence/ Absence/ Traces. Contemporary Artists on Jewish Warsaw  

March 11 - April 25, 2016 Entry is free of charge The works presented in the exhibition were made during 13 artistic residencies at POLIN Mu...

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