The films shown at the TJFF express a cultural-mythic or a cultural-skeptic dynamic; they either support or reject the cultural values inherent within the cultural hegemony -- in this case, the voice of mainstream Judaism.
However, the TJFF repositions any such understanding by including the cultural source in the discussion, thereby recognizing the position of the audience within the performative frame of the film and festival.
The dialogical discourse of the TJFF is not limited within a binary or dialectical frame; frequently, it emerges in what Bakhtin has labeled "polyphony.
This dynamic, and these alternatives, are by design the basis of the TJFF.
Fun, enjoyment, intellectual provocation, to be in the process of working though what it means to be a diasporic Jew in the late 20th century -- a process aided by artistic representations like film -- TJFF is one of the most important Jewish events in the city because it has managed to attract the most diverse cross-section of Jews to assemble in one place for a community event.
This enigmatic and slightly ambiguous comment highlights the complex web of cultural signification within which the TJFF operates.
In many respects, the TJFF is what Ralph Linton called a "nativistic movement": "any conscious, organized attempt on the part of a society's members to revive or perpetuate selected aspects of its culture.
The TJFF will be around next year, a continuation of this cultural expression and its referents and meanings.
Rather than being expressions of hegemonically oriented consumer marketplaces, phenomena like the TJFF celebrate the culture which supports them.