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Documentary filmmaker Josh Aronson
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deaf and the Chasidic communities.
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AUDREY BECKER
Special to the Jewish News
Mr
ing story.
hen Josh Aronson set
out to make a docu-
mentary film, he was
looking for an engag-
of people that lives together and
resists interference from the outside
world. They have their own commu-
nity, have their own rituals, if you
will, and live by a certain code.
"They stay together, they bond
together," he says, "because they feel
the history and the culture and the
spirituality — they speak of it in
spiritual terms — of their group's
need to be maintained by not inter-
"Sound and Fury was a film that
found me," he explains, when "I
happened to meet a deaf woman who
had just gotten a
cochlear implant, and
she could talk on the
phone for the first
time in 30 years."
Aronson, a film-
maker with a success-
ful career directing
television commer-
cials and MTV
videos, was surprised
to learn the woman's
deaf friends of 20
years had rejected her
after she had the
implant. In Sound
and Fury, which he
Heather Artinian:
marrying. Deaf people
took four years to make, he
The 6-year-old
don't like it when their
tells the intimate story of
is caught in a
children date hearing
one family's bitter struggle
tense struggle over
people. There are a lot of
over the controversial surgery
whether or not
similarities to Jewish cul-
— to some a technological
she should be given a ture, older Jewish cul-
advancement and a miracu-
cochlear implant to
ture."
lous cure; to others, an
enable her hearing.
Like the Jewish people,
unnatural procedure that
the deaf culture has a
threatens an entire way of
history of oppression. Aronson
life.
knows that many viewers may not
It is not a subject matter that is
comprehend the extent of that
explicitly Jewish, but director
oppression. "For a hundred years
Aronson recognizes how his own cul-
deaf people were denied their lan-
tural background provided the guid-
guage — legally. School systems did
ing concept of the film.
not teach sign language and were
"Sound and Fury is about the
instructed not to [allow signing] by
search for identity and maintenance
educational conferences."
of a culture. And my image for the
Aronson gives a stunning account:
deaf culture throughout making the
"Sign language was like smoking in
film was always Crown Heights; it
the hallways in the '50s and '60s.
was always the Chasidic Jews in
Literally, it was. Teachers would slap
Crown Heights," says Aronson, who
deaf children's hands for signing. It
had studied weekly with a group of
wasn't until the '70s and '80s that
other assimilated Jews in the
sign language came into its own.
Brooklyn enclave.
"As that happened, this is a group
The St. Louis native, who studied
of people who finally developed
piano at Interlochen National Music
something they called 'deaf culture,'
Camp in the mid-'60s, sees the deaf
which involved pride and self-esteem
community as "a shtetl. It's a group