American Yiddish films captured the language, lifestyle, values, dreams, and myths of Yiddish culture, which resonated deeply with many Yiddish immigrant communities in New York City. Yiddish film reached its “Golden Age” between 1936 and 1939, and many influential women graced the Yiddish screen, including Moly Pico, Celia Adler, Jennie Goldstein, Lili Liliana, and Berta Gersten. 

Vaudeville legend and Broadway star Sophie Tucker defied convention with her saucy comic banter and music. Tucker became famous internationally for her singing performances and delighted audiences throughout America and Europe with her rendition of “My Yiddishe Momme.” Tucker was proud of her Jewish identity and created the Sophie Tucker Foundation, which supported various actors’ guilds, hospitals, synagogues, and Israeli youth villages.

Jewish women have had a long-standing, complex, often fraught relation to American television. They have had to battle a male-dominated production system and sexist stereotypes, but also have seen significant advances, in front of and behind the screen, resulting from the cable and streaming revolutions and third-wave feminist activism.  

Johanna Spector was an influential ethnomusicologist whose writings, recordings, and film projects documented the music of little-studied Jewish communities from around the world. After surviving the Holocaust, Spector earned her doctorate, founded the ethnomusicology department at the Jewish Theological Seminary, established the Society for the Preservation of Samaritan Culture, and served as president of the Asian Music Society. 

Award-winning director and screenwriter Joan Micklin Silver, born in 1935 in Omaha, Nebraska, wrote and directed the 1975 barrier-breaking independent film Hester Street, which sparked an interest in the lives of immigrant Jews. She also directed Crossing Delancey (1988), five other feature films, and several films for television.

Feisty and opinionated, Sylvia Sidney was quite the opposite of the waiflike victim of social oppression she played in Hollywood’s Depression Era films. While she disliked playing the victim, her vulnerability and working-class persona resonated with audiences. She earned an Oscar nomination for her performance in Summer Wishes, Winter Dreams, took on a comic role as the caseworker in Beetlejuice, and played a sympathetic grandmother in one of the first TV movies about AIDS, An Early Frost.

Irene Mayer Selznick was a producer and philanthropist in Hollywood and New York. She wrote in her memoir, A Private View (1983), that Act I was spent under the shadow of her father, the film executive Louis B. Mayer; Act II was marriage to David O. Selznick, producer of Gone With the Wind; and Act III consisted of her career as a Broadway producer. She is known for producing Tennessee Williams’s A Streetcar Named Desire (1947).

Lilly Rivlin is a documentary filmmaker whose films are centered around feminism, the Arab-Israeli peace process, Jewishness, and her family relationships. Rivlin’s films The Tribe (1984), Miriam’s Daughters Now (1986), and Gimme a Kiss (2000), all of which explore Jewishness and family, are among her best.