Posted By  richards on December 2, 2013    
				
				Is the Famed Children's Story an Allegory for Anti-Semitism?            
      Disney    
      All Creatures Great and Small: In the      Haggadah, deer hunts have been said to refer to      anti-Semitism.    
    What could be more Jewish than an animated, doe-eyed fawn    gallivanting around the forest with pals Thumper the hare and    Flower the skunk? The question may sound ridiculous, but it    becomes more serious when you consider the release date of the    film Bambi     August 13, 1942. And then there are the hunters and forest    fires that threaten the white-tailed deer, and the Zionist    identitification of Felix Salten, who wrote the book that    inspired the movie.  
    Cervine and elaphine metaphors abound in medieval art  where    stags cruciform antlers symbolize Jesus Christ, and    illustrated     hare and deer    hunts in Haggadot refer, in part, to anti-Semitism  and in    the Bible, where deer (Naphtalis tribal symbol) take on sexual    (Song of Songs), spiritual (Psalms and Proverbs), and messianic    (Isaiah) implications. Speaking last month at the Chicago    Humanities Festival, Paul Reitter, a German professor from Ohio    State, asserted that Bambis hunters were at least partial    stand-ins for anti-Semitic persecution in Saltens 1923 book,    Bambi. Eine Lebensgeschichte aus dem Walde. (The author sold    the movie rights for $1,000 in 1933 to Sidney Franklin, who in    turn sold them to Disney.)  
    In an essay published in     Tablet, David Rakoff referred to Salten as an assimilated    Jew, although he allowed that the writers Jewish    consciousness was not entirely dormant and that his lingering    vestigial Jewishness did not go unnoticed in Bambi. But    Reitter, it seems,     has done a much better job on his Salten homework.  
    Speaking in Chicago, Reitter described Salten as an avid and    self-described humane hunter who spoke before Martin Buber at    a 1909 event of Pragues Bar Kochba association. He hadnt    written any Jewish books, and he was known for writing erotic    novels under a pseudonum. But, Reitter noted, Salten was the    only member of the Young Vienna literary group who wrote for    Theodor Herzls Zionist newspaper, Die Welt (The World), and he    penned a regular column during the papers first year.  
    Inspired by Herzls message of self-acceptance Salten became    an effective critic of the attempt to hide or disown Jewish    heritage. He was also concerned about the menace of    anti-Semitism, Reitter said. Salten also wrote on the    importance of theater for Jewish self-awareness, and his    obituary for Herzl viewed the latters Zionism as his    playwritings fifth act. Finally, Reitter noted, Salten     after speaking a second time at a Bar Kochba event  traveled    to Palestine in 1924 and wrote a largely admiring book    detailing those travels.  
    Although Salten wrote his Palestine book shortly after    publishing Bambi, scholars shouldnt have ignored the    question of whether the two are connected, according to    Reitter. In fact, some have even sought to make much flimsier    connections between Saltens pornographic work, Josefine    Mutzenbacher, and Bambi, calling Salten a deer sodomite.  
    Austrian Jewish writer Karl Kraus noticed Jewish dialect in    the hares of Bambi and suggested they perhaps [were] using    mimicry as a defense against persecution. And a 1945 letter to    the editor of The Saturday Evening Post by Alfred Werner, who    was the associate editor of the Chicago Jewish Forum, about    Saltens death described the fox of Bambi as the Hitler of    the forest and compared the animal to Joseph Goebbels.  
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Why Bambi Is the Most Jewish Deer in Disneyland
				
Category: Jewish American Heritage Month |  
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