![]() ![]() The work demanded “the ability to accurately determine the action of each shot (and frame) in isolation, and visual memory.” Shub employed gender-specific language to describe these frame-by-frame negative-cutters: “The labour of a montazhnitsa and her role in the production process is not widely known, and yet it is a large department with a well-organised workforce…This collective of women workers delights us with its political harmony, social activism, and a sense of absolute camaraderie toward one another” (Gadassik). She described the work of the “ montazhnitsa” (montage-girl), a Soviet film term that overlaps with the work of the animation editor, as the art of splicing live-action film clips into synthesized cinematic movements and hand-painting over celluloid. In her 1928 essay on film editing, Jewish film director Ėsfir Shub (1894-1959) left an indelible description of her experience in the “back room” of the profession. ![]() With the exception of the rare female directors, most Jewish women worked as writers, storyboard artists, animators, inkers, voice actors, musicians, editors, and fillers. Yet, despite the collaborative nature of animation work, the participation of Jewish woman has not always been acknowledged precisely because they were most active in low- and mid-level positions in the field in its early decades. Since animation is, by and large, a group art that requires collaboration at all stages of production, the study of Jewish women working in animation sheds light on the level of integration of ethnic minorities and women into the industry’s labor force. Jewish women were active in animation from its first and formative years. ![]()
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