· web viewwhat makes the jap so misogynistic, however, is not her negative characteristics, but...

Rachel EisenSubmission for HBI Prize – Graduate

Written for NEJS 161b of 14

“I carried a watermelon”:Jewish Women Writers Confront the JAP Stereotype

IntroductionThe “Jewish American Princess,” or “JAP,” is, by all accounts, a misogynistic

stereotype created by Jewish men. The JAP is “selfish and pampered,”1 “loud,

emotional, pushy and aggressive,”2 “manipulative,” “both sexually frigid

(withholding) and…a nymphomaniac;”3 she is “the female counterpart to the

schlemiel,”4 who “depends on men in order to adorn herself.”5 In short, she is a

horror who preys on men, taking their money and giving nothing in return. Male

writers, notably novelists Herman Wouk and Philip Roth in their respective

characters, Marjorie Morningstar and Brenda Patimkin, created the JAP in the

postwar period.6 Sandford Pinsker has called Brenda the “ur-JAP…the archetype”

after which all JAPs model themselves.7

1 Janice L. Booker, "The Jewish Daughter," in The Jewish American Princess and Other Myths: The Many Faces of Self-Hatred, (New York: Shapolsky Publishers, 1991), 33.2 Jessica Greenebaum, "Jewish Women into the Intersectionality of Race, Class, and Gender," Race, Gender, & Class 6, no. 4 (1999): 53.3 Evelyn Torton Beck, "From 'Kike' to JAP: How Misogyny, Anti-Semitism, and Racism Construct the 'Jewish American Princess'," in Race, Class and Gender: An Anthology, 3rd edition, ed. Margaret L. Andersen and Patricia Hill Collins (Belmont, CA: Wadsworth Publishing Company, 1998), 432-33.4 Nathan Abrams, "The Jewess," in The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema, (New Brunswick, NJ: Rutgers University Press, 2012), 49.5 Riv-Ellen Prell, "Why Jewish Princesses Don't Sweat: Desire and Consumption in Postwar American Jewish Culture," in People of the Body: Jews and Judaism from an Embodied Perspective, ed. Howard Eilberg-Schwartz (Albany: State University of New York Press, 1992), 336.6 Riv-Ellen Prell, "Cinderellas Who (Almost) Never Become Princesses: Subversive Representations of Jewish Women in Postwar Popular Novels," in Talking Back: Images of Jewish Women in American Popular Culture, ed. Joyce Antler (Hanover, NH: Brandeis University Press, 1998), 125; Beck, "From 'Kike' to 'JAP'," 435; Prell, "Why Jewish Princesses Don't Sweat," 348; Abrams, "The Jewess," 49.7 Quoted in Barbara Frey Waxman, "Jewish American Princesses, Their Mothers, and Feminist Pscyhology: A Rereading of Roth's 'Goodbye, Columbus'," Studies in American Jewish Literature 7, no. 1 (1988): 91.



What makes the JAP so misogynistic, however, is not her negative

characteristics, but rather, her two-dimensionality and her purpose as a foil for men.

According to Riv-Ellen Prell, who has studied the JAP stereotype extensively, both

Marjorie and Brenda “were conduits through which the males transacted their…

relationship” with other men.8 The JAP, then, is not her own character, but rather

merely the female version of an existing Jewish male stereotype: she cannot even

exist on her own without being defined by her relationship to a man.9

In the 1980s, however, Jewish women began countering the JAP stereotype.

After numerous incidents of “JAP-baiting” on college campuses, scholars,10 the

Jewish community,11 and journalists12 noted the dangers of the stereotype. These

rebukes followed the publication of several novels by female Jewish authors that

brought the Jewish woman to the forefront as a means of “talk[ing] back” to the men

who had previously thoroughly skewered them.13 These heroines, as well as the

8 Prell, "Cinderellas," 125.9 Abrams, "The Jewess," 49; Roberta Mock, "Female Jewish Comedians: Grotesque Mimesis and Trangressing Stereotypes," New Theatre Quarterly 15, no. 2 (1999): 101; Riv-Ellen Prell, "The Jewish American Princess: Detachable Ethnicity, Gender Ambiguity and Middle-Class Anxiety," in Fighting to Become Americans: Jews, Gender, and the Anxiety of Assimilation, (Boston, MA: Beacon Press, 1999), 194.10 Gary Spencer, "An Anlysis of JAP-Baiting Humor on the College Campus," Humor 2, no. 4 (1989); Bernard Saper, "The JAP Joke Controversy: An Excrutiating Psychosocial Analysis," ibid. 4, no. 2 (1991).11 Mimi Alperin, "JAP Jokes: Hateful Humor," (New York: American Jewish Committee, 1988).12 Sherry Chayat, "JAP-Baiting on the College Scene," Lilith 17 (1987); Susan Schnur, "When Is a JAP Not a Yuppie? Blazes of Truth," ibid.; "Jewish Women Campaign against 'Princess' Jokes," New York Times Sep. 7, 1987; Laura Shapiro, "When Is a Joke Not a Joke?," Newsweek, May 23, 1988; "Are 'JAP' Jokes Anti-Semitic?," USA Today Magazine 117, no. 2527 (1989).13 Prell, "Cinderellas," 124-37.



Jewish women who began taking center stage on the big screen, were fully fleshed-

out characters, whose JAP-like qualities hid “real tears” and “real pain.”14

As Ruth D. Johnston, Roberta Mock, and Joyce Antler have argued, female

Jewish authors use comedy and mimicry to poke fun of, and poke holes in, the

stereotypes that classify women as two-dimensional stock characters. Johnston

understands Jewish gender performance through the lens of Homi Bhabha’s concept

of mimicry; she argues women’s films’ portrayal of the JAP flips the stereotype on its

head by “explor[ing] sympathetically” the characteristics of the stereotype.15

Building on the work of various feminist scholars such as Luce Irigaray, Mock argues

much of Jewish comediennes’ work represents instances where “the ‘other’, who has

previously only been described as an object…suddenly acquires her own voice.”

When Jewish women admit they do have the JAP’s flaws, they engage the

oppositional gaze, forcing “the social body” to confront their prejudice; therefore,

Jewish women’s works serve to “counter-balance the limitations” of stereotypes.16

Similarly, Antler has argued that, “when women use humor to express and laugh at

their visions of the world, they cannot help but challenge the social structures.”17

It was in the context of feminist pushback against the JAP through comedy

and literature that Dirty Dancing (1987) was released. Clueless (1995) followed less

14 Patricia Erens, "Gangsters, Vampires, and J.A.P.'S: The Jew Surfaces in American Movies," Journal of Popular Film 4, no. 3 (1975): 216.15 Ruth D. Johnston, "Joke-Work: The Construction of Jewish Posdtmodern Identity in Contemporary Theory and American Film," in You Should See Yourself: Jewish Identity in Postmodern American Culture, ed. Vincent Brook (New Brunswick, NJ: Rutgers University Press, 2006), 216.16 Mock, "Female Jewish Comedians," 101-106.17 Joyce Antler, "One Clove Away from a Pomander Ball: The Subversive Tradition of Jewish Female Comedians," Studies in American Jewish Literature 29 (2010): 126.



than a decade later. Both films were written by Jewish women. In this paper, I will

analyze the portrayal of the two heroines and argue both films use mimetic comedy

to confront and dismantle the JAP stereotype.

The JAP in Dirty Dancing and CluelessDirty Dancing and Clueless present different portrayals of the JAP stereotype,

providing varied opportunities to understand the stereotype. While both focus on

teenage girls dealing with romance and their relationships with their fathers, the

two heroines are very different. Though both are marked as Jewish through their

last names and fathers’ professions rather than through explicit Jewish references,

only Baby of Dirty Dancing is marked as Jewish through her body. Baby has brown,

curly hair and a “Jewish nose,” unlike Clueless’s Cher, who has blonde, straight hair

and a decidedly not-Jewish nose. Clueless takes place contemporarily and Dirty

Dancing is set historically, in 1963. And while Baby could be seen as an anti-JAP,

Cher could just as easily be dismissed as the ultimate JAP with no redeeming

qualities. Yet an in-depth understanding of the two characters and their actions

belie such surface-level impressions.

Baby Houseman, heroine of Dirty Dancing, which was written and co-

produced by Eleanor Bergstein,18 is at first glance an unlikely subject for analyzing

18 While Dirty Dancing was directed by a (non-Jewish) man, it is not insignificant that it was written and co-produced by Jewish woman. Bergstein had a considerable role in the production of the movie. In addition, Ruth D. Johnston has written that films written by women even if directed by men should be considered women’s films due to the prominent voices these works give female characters and viewpoints. Carlos E. Cortès, Multicultural America: A Multimedia Encyclopedia (Los Angeles: SAGE Reference, 2013), 708; Stephanie Butnick, "Is 'Dirty Dancing' the Most Jewish Film Ever?," Tablet, Published electronically Aug. 16, 2011. http://tabletmag.com/scroll/74789/is-dirty-dancing-the-most-jewish-film-ever; Johnston, "Joke-Work," 229.



the JAP stereotype. She is not the “rich spoiled girl who…contributes nothing to

society.”19 Her sister, Lisa, is a far better candidate. When we first see Lisa, she is

staring into a mirror while in the car to Kellerman’s resort in summer 1963. Upon

arrival, Lisa immediately complains she did not bring her coral shoes, and her

mother has to remind her that she actually brought ten pairs of shoes. Baby joins

her father in chastising Lisa for her frivolity, reminding Lisa that tragedy isn’t

forgetting a pair of shoes, tragedy is “monks burning themselves in [political]

protest.” Lisa is wooed by future-doctor Robbie, who brags about saving up enough

money to buy Lisa’s favorite car. Lisa obsesses over her looks. Baby, on the other

hand, hasn’t bothered to straighten her big, curly hair or have her nose “fixed”

(classic JAP behavior20). When Baby’s father, Jake, introduces her as someone who is

going to “change the world,” Baby quips that Lisa is going to “decorate it.”

Baby literally embodies the opposite of what a JAP is. Whereas Riv-Ellen Prell

asserts that, “the JAP is personified by a passive body,”21 the plot of Dirty Dancing

revolves around Baby being active: in order to save the job of Penny, one of the

resort’s dance instructors, who has gotten pregnant and needs an illegal abortion,

Baby must learn how to dance the Mambo in Penny’s place. The main action of the

film shows Baby sweating and working hard to master a physical discipline.

Yet, it is clear much of the criticism leveled against the supposed JAP could

easily be brought against Baby. For example, Baby is inextricably defined by her

19 Michele Byers, "The Pariah Princess: Agency, Representation, and Neoliberal Jewish Girlhood," Girlhood Studies 2, no. 2 (2009): 33.20 Beck, "From 'Kike' to 'JAP'," 433.21 Prell, "The Jewish American Princess," 184. See also Prell, "Cinderellas," 331.



relationship to Jake, not unlike the JAP, whose entire existence depends on her

father or husband.22 Though Baby may introduce herself with a voice-over that

situates her as an intellectual character, in the same breath she also claims she

“never thought she’d find a guy as a great as [her] dad.” She depends on her father’s

money to fix problems: when Penny cannot pay for her abortion, Baby asks Jake to

borrow $250. Even though she won’t tell him the reason, Jake obliges anyway and

kisses Baby on the forehead.

For all her posturing about joining the Peace Corps, it is clear Baby has never

worked a day in her life. When she first meets Johnny, the handsome male dance

instructor with whom she will eventually partner (on the dance floor and in bed),

Baby justifies her presence at the staff party by claiming she “carried a

watermelon”—as if carrying one watermelon is equal to the staff’s day-long toiling.

Throughout the film, she is shown to have no understanding of the realities of

working-class life. Baby in some sense is a passive body: despite sweating in the

dance studio, she has no idea what it means to labor for a living. Prell argues that,

“Jewish American Princesses require everything and give nothing;”23 this is exactly

what Johnny accuses Baby of when she appears unable to stand up to her father for

their relationship.

Compared to Baby, Cher Horowitz, heroine of Clueless, is a blatant JAP.

Written and directed by Amy Heckerling, Clueless opens with scenes of California

opulence, and Cher’s stated belief that living in a mansion paid for by her $500-an-

22 Beck, "From 'Kike' to 'JAP'," 432, 436; Abrams, "The Jewess," 34; Mock, "Female Jewish Comedians," 101.23 Prell, "The Jewish American Princess," 180.



hour-earning litigator father is “a way normal life for a teenage girl.” She shops for

designer clothes as therapy anytime something doesn’t go her way. In one scene, as

Cher is held up at gunpoint, she protests when her assailant demands she get down

on the ground, because she does not want to ruin her name-brand dress. She

accuses a classmate of wearing knock-off perfume. Her ex-step-brother, Josh, jokes

that Cher’s only sense of direction is toward the mall and berates her for not

following current events.

However, just as elements of the JAP are hidden beneath Baby’s desire to do

good, Cher’s desire to do good is hidden beneath her JAP exterior. Cher may like to

shop and be, at times, clueless, but she is not someone who “fails to care for the

needs of others.”24 In fact, a recurring theme throughout Clueless is that Cher’s

father, Mel, is in poor health due to his eating habits and Cher is constantly trying to

get him to eat better and follow his doctor’s advice. In their first encounter on

screen, Cher attempts to convince him to drink orange juice for vitamin C. Later,

when she and Josh buy Mel and his colleagues food as they work late, Cher makes

Mel—not for the first time—eat a salad rather than meat. Her caretaking is

acknowledged by Mel toward the end of the film when he specifically reminds her

that by taking care of him, Cher has demonstrated her “good-doing.”

Unlike Brenda Patimkin, who “doggedly resists self-analysis,”25 Cher is open

to understanding her flaws and working to correct them. When Josh accuses Cher of

being “selfish,” she is genuinely concerned she might actually be selfish. And,

24 Prell, "The Jewish American Princess," 181.25 Waxman, "Jewish American Princesses," 101.



importantly, toward the end of the film, Cher is willing to admit she was “wrong”

and “clueless,” a conclusion she comes to on her own, through her self-analysis. She

not only admits her flaws to herself, but also apologizes to her friend, whom she has

hurt with her cluelessness.

DiscussionDespite portraying the Jewish teen girl in different ways, both Bergstein and

Heckerling confront and dismantle the two-dimensional stereotype by suggesting

there is more to her than vanity and laziness. Whereas the JAP has no desire to

labor, Baby at least recognizes her lack of work experience. “I carried a watermelon”

is a ridiculous line and Baby knows it. When Johnny walks away after she says this,

she incredulously repeats it as if she cannot believe the words came out of her

mouth. Furthermore, at the end of the film, when Johnny is going to lose his job after

being falsely accused of theft, Baby speaks up and provides his alibi, revealing she

was with him in his room at night. By having an active, sexual body, unlike the JAP,

Baby actually does something for Johnny, even if that results in Johnny getting fired

anyway, for sleeping with a guest. Baby may not know how to labor productively,26

but she does not reject labor. The difference is subtle but suggests that rather than

having an inherent character flaw, Jewish women can turn their passivity into

activity if they are self-aware. Baby’s self-awareness and ability to subverts the idea

that Jewish always women are “lazy” or “parasites.”27

26 Prell, "Why Jewish Princesses Don't Sweat," 349.27 Beck, "From 'Kike' to 'JAP'," 432.



Cher’s “shallow materialism”28 is not a true portrayal of who she is. Roberta

Mock argues that, “the JAP’s actions can only occur when bankrolled by her father or

lover.”29 But Cher’s most important actions do not rely on Mel’s money. Ultimately,

Cher transforms herself by captaining her school’s collection drive in response to a

natural disaster. She takes initiative to donate items she already owns and

harnesses her popularity for good by getting her classmates involved. As she reflects

that her friends all have something they are each very good at, it becomes clear that

Cher has a talent, too—organizing and mobilizing—and that when she makes an

effort, she can make a difference by herself, without anyone else’s monetary

assistance. Cher’s ability to transform herself and act of her own accord speaks to

the activeness and depth of her character.

Baby and Cher also have complex relationships with the men—particularly

the fathers—in their lives, that go beyond the “economic;”30 Riv-Ellen Prell argues

this complex relationship is a critical feature of women’s novels in the 1970s that

similarly confronted the JAP stereotype.31 Baby wants more from her father, Jake,

than his money, as evident in her breakdown after he chastises her for assisting in

something illegal and lying to him. Unlike Brenda Patimkin, who easily chooses her

family over Neil Klugman when he calls her out for not valuing their relationship or

her own beliefs,32 Baby is genuinely torn when Johnny accuses her of not “fighting”

for their relationship. Instead of choosing her father, she chooses both her father 28 Booker, "The Jewish Daughter," 41.29 Mock, "Female Jewish Comedians," 101.30 Prell, "The Jewish American Princess," 189.31 Prell, "Cinderellas," 138.32 Prell, "Why Jewish Princesses Don't Sweat," 349.



and Johnny, returning to Johnny’s side but also telling Jake she loves him. Because

Brenda is merely a foil for Neil, she cannot have complex relationships with either

him or her parents. Baby can, however, because she subverts the two-

dimensionality of the JAP. Additionally, the simplicity of Brenda’s relationships with

men is constant. Whether with Neil or her father, Brenda always acquiesces. Baby’s

relationships with Johnny and Jake both change over the course of the movie, not

unlike her transformation from passive to active body. Once again, Baby’s character

challenges the static, flat nature of a stereotype.

Likewise, Cher’s father, Mel, is no victim, and he is unwilling to let Cher coast.

He may finance her shopping sprees, but he simultaneously gives Cher a hard time

about her grades and her plans in life. Comparing her to Josh, Mel scolds that, “at

least he knows what he wants do…I’d like to see you have a little direction,” a

criticism he later repeats. In the end, Cher goes to Mel for advice—not money. When

he reminds Cher she is the one who takes care of the household, Mel demonstrates

their relationship is not based on one-way financial transactions, but rather on

mutual care and love. The mutuality of that care is significant because it

demonstrates Cher is unlike the JAP, who “sucks men dry”33 by not giving anything

of herself.

Finally, and importantly, both films propose these two heroines’ JAP-ness is

performative. Judith Butler’s theory on gender performativity highly influences

Michele Byers, who suggests being a JAP is no less performative than any other

33 Beck, "From 'Kike' to 'JAP'," 432.



social role.34 Comedy, then, is an important medium for confronting the JAP because

it is inherently performative, that is, the comic takes on certain repeated

characteristics to create a persona. Through “comic mimesis”35 of the JAP

stereotype, the Jewish women writers of Dirty Dancing and Clueless use fictional

roles in the same way Jewish female comedians use their personas to mimic and

stare back at stereotypes that would flatten them. Even the characters themselves

are performing their JAP-ness. Baby is a different person when she is with her

family as opposed to Johnny. The film suggests she is her true self with Johnny—

underscored by his famous line, “nobody puts Baby in a corner.” If being with her

family is her untrue self, then her reliance on “daddy” and her lack of labor is just a

role she takes on. Cher names this performativity when she is choosing a “lighting

concept” and making “costume decisions” as she plans for a romantic rendezvous. In

doing so, Heckerling (through Cher) claims these aspects of the JAP—designer

clothes, snobbishness, gauche displays of wealth—are really just an act. By

suggesting that being a JAP is no more than a role to play, Dirty Dancing and Clueless

call out the JAP stereotype as merely performance and show that underneath the

type-cast is a real, if flawed, woman.

ConclusionIn discussing “the subversive tradition of Jewish female comedians,” Joyce

Antler argues these comediennes “wanted to give [women] their dignity, rather than

render them as caricatures.” Antler elaborates that, “because expectations are that 34 Byers, "The Pariah Princess," 38.35 Mock, "Female Jewish Comedians," 103.



men do the joking and women receive (or are targets of) humor, for women merely

to take the mike as comic performers upsets role norms.”36 In Dirty Dancing and

Clueless, Eleanor Bergstein and Amy Heckerling take the pen (instead of the mike) to

“upset” expectations and accepted norms.

Both Baby and Cher appear to suffer the JAP’s flaws of relying on their

fathers and not laboring productively. Neither Baby nor Cher, however, are two-

dimensionally flawed, unlike the original JAPs created by men. Instead, their flaws

are partnered by strengths, including real desires to do good, to labor, and to have

complex relationships with their fathers. In mimicking the stereotype while

simultaneously dismantling it, Bergstein and Heckerling suggest Jewish women can

have the characteristics of the JAP while still being fully developed characters. By

giving a strong female character like Baby the JAP’s flaws and by giving a JAP like

Cher complex strengths, Bergstein and Heckerling subvert the two-dimensionality

of the JAP stereotype.

36 Antler, "One Clove Away," 123, 126.



Works Cited

Abrams, Nathan. "The Jewess." In The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema, New Brunswick, NJ: Rutgers University Press, 2012. 43-67.

Alperin, Mimi. "JAP Jokes: Hateful Humor." New York: American Jewish Committee, 1988.

Antler, Joyce. "One Clove Away from a Pomander Ball: The Subversive Tradition of Jewish Female Comedians." Studies in American Jewish Literature 29 (2010): 123-138.

"Are 'JAP' Jokes Anti-Semitic?". USA Today Magazine 117, no. 2527 (1989): 5.Beck, Evelyn Torton. "From 'Kike' to 'JAP': How Misogyny, Anti-Semitism, and

Racism Construct the 'Jewish American Princess'." In Race, Class and Gender: An Anthology, 3rd edition, edited by Margaret L. Andersen and Patricia Hill Collins, Belmont, CA: Wadsworth Publishing Company, 1998.

Booker, Janice L. "The Jewish Daughter." In The Jewish American Princess and Other Myths: The Many Faces of Self-Hatred, New York: Shapolsky Publishers, 1991. 33-45.

Butnick, Stephanie. "Is 'Dirty Dancing' the Most Jewish Film Ever?" Tablet. Published electronically Aug. 16, 2011. http://tabletmag.com/scroll/74789/is-dirty-dancing-the-most-jewish-film-ever.

Byers, Michele. "The Pariah Princess: Agency, Representation, and Neoliberal Jewish Girlhood." Girlhood Studies 2, no. 2 (2009): 33-54.

Chayat, Sherry. "JAP-Baiting on the College Scene." Lilith 17 (1987): 6.Cortès, Carlos E. Multicultural America: A Multimedia Encyclopedia. Los Angeles:

SAGE Reference, 2013.Erens, Patricia. "Gangsters, Vampires, and J.A.P.'S: The Jew Surfaces in American

Movies." Journal of Popular Film 4, no. 3 (1975): 208-222.Greenebaum, Jessica. "Jewish Women into the Intersectionality of Race, Class, and

Gender." Race, Gender, & Class 6, no. 4 (1999): 41-60."Jewish Women Campaign against 'Princess' Jokes." New York Times, Sep. 7, 1987.Johnston, Ruth D. "Joke-Work: The Construction of Jewish Posdtmodern Identity in

Contemporary Theory and American Film." In You Should See Yourself: Jewish Identity in Postmodern American Culture, edited by Vincent Brook, New Brunswick, NJ: Rutgers University Press, 2006. 207-229.

Mock, Roberta. "Female Jewish Comedians: Grotesque Mimesis and Trangressing Stereotypes." New Theatre Quarterly 15, no. 2 (1999): 99-108.

Prell, Riv-Ellen. "Cinderellas Who (Almost) Never Become Princesses: Subversive Representations of Jewish Women in Postwar Popular Novels." In Talking Back: Images of Jewish Women in American Popular Culture, edited by Joyce Antler, Hanover, NH: Brandeis University Press, 1998.



———. "The Jewish American Princess: Detachable Ethnicity, Gender Ambiguity and Middle-Class Anxiety." In Fighting to Become Americans: Jews, Gender, and the Anxiety of Assimilation, Boston, MA: Beacon Press, 1999.

———. "Why Jewish Princesses Don't Sweat: Desire and Consumption in Postwar American Jewish Culture." In People of the Body: Jews and Judaism from an Embodied Perspective, edited by Howard Eilberg-Schwartz, Albany: State University of New York Press, 1992.

Saper, Bernard. "The JAP Joke Controversy: An Excrutiating Psychosocial Analysis." Humor 4, no. 2 (1991): 223-239.

Schnur, Susan. "When Is a JAP Not a Yuppie? Blazes of Truth." Lilith 17 (1987): 10.Shapiro, Laura. "When Is a Joke Not a Joke?" Newsweek, May 23, 1988, 79.Spencer, Gary. "An Anlysis of JAP-Baiting Humor on the College Campus." Humor 2,

no. 4 (1989): 329-348.Waxman, Barbara Frey. "Jewish American Princesses, Their Mothers, and Feminist

Pscyhology: A Rereading of Roth's 'Goodbye, Columbus'." Studies in American Jewish Literature 7, no. 1 (1988): 90-104.

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