1. Thomas, Brennan M., “Elements of Allegory and Americana in Disney's Bambi,” in Americanization of History: Conflation of Time and Culture in Film and Television, ed. McDonald, Kathleen (Tyne, NE: Cambridge Scholars Publishing, 2011), 43Google Scholar.

2. Reitter, Paul, Bambi's Jewish Roots and Other Essays on German-Jewish Culture (New York: Bloomsbury, 2015), 95Google Scholar.

3. On the Nazi banning of Salten's Bambi, see Mattle, Siegried and Schwarz, Werner Michael, Felix Salten: Schriftsteller—Journalist—Exilant (Vienna: Holzhausen, 2006), 63Google Scholar.

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5. See Krobb, Florian, “Gefühlszionismus and Zionsgefühle: Zum Palästina-Diskurs bei Schnitzler, Herzl, Salten und Lasker-Schäler,” in Sentimente, Gefühle, Empfindungen: Zur Geschichte und Literatur des Affektiven von 1770 bis heute, ed. Fuchs, Ann and Strämer-Krobb, Sabine (Würzburg: Königshausen und Neumann, 2003), 149–63Google Scholar.

6. For Mikhail Bakhtin's theorization of the dialogic, see The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emeron and Michael Holquist (Austin: University of Texas Press, 1981).

7. As per the law in 1930s Poland, the print run is listed in the front matter. Preface to Bambi vald-maysele, trans. Leivick Hodes (Warsaw: Kultur Lige, 1930).

8. Leyvik Hodes biografye un shrift (New York: Unser tsait, 1962), 27.

9. Preface to Bambi vald-maysele.

10. See Barzilay, Isaac, “Yitshaq Fritz Baer and Shalom Baron: Two Contemporary Interpreters of Jewish History,” Proceedings of the American Academy for Jewish Research 60 (1994): 7–69CrossRefGoogle Scholar.

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12. El Lissitzky, “Vegn der Molever shul. Zikhroynes,” translated into English and republished in “Memoirs of the Mohilev Synagogue,” in Tradition and Revolution: The Jewish Renaissance in Russian Avant-Garde Art, ed. Ruth Apter-Gabriel (Jerusalem: The Israel Museum, 1987), 233–34; Aronson, Boris, Sovremennaia evreiskaia grafika (Berlin: Petropolis, 1924)Google Scholar.

13. Valley, Eli, The Great Jewish Cities of Central and Eastern Europe: A Travel Guide & Resource Book to Prague, Warsaw, Cracow & Budapest (Northvale, NJ: Jason Aronson, 1999), 208Google Scholar.

14. This was in the same period as Salten was on a tour of Mandate Palestine. See Salten, Felix, Neue Menschen auf alter Erde [New people on ancient soil] (Berlin: Paul Zsolnay, 1925)Google Scholar.

15. In 2 Samuel 1:19 the phrase ha-ẓvi Yisraʾel is simultaneously interpreted as both “the beauty of Israel” and “the deer, Israel,” and in Daniel 11:16, the phrase be-’ereẓ-ha-ẓvi can be interpreted as both “in the land of beauty” and “in the land of the deer.”

16. Epstein, Dreams of Subversion, 22.

17. Lambert, Angela, The Lost Life of Eva Braun: A Biography (New York: Macmillan, 2008), 32Google Scholar.

18. “Begierig lauschten sie den vielen Erzählungen, die immer voll von Schrecknissen waren, voll Blut und Jammer.” Salten, Felix, Bambi. Eine Lebensgeschichte aus dem Walde (Berlin: Paul Zsolnay, 1928), 90Google Scholar.

19. On the pre–World War II industry of children's illustration in the Yishuv, see Ayala Gordan, ʾIyyurim ʿivriyim: Ha-sefer ha-‘ivri ha-me'uyar le-yeladim [Hebrew illustrations: The illustrated Hebrew book for children: The international age, 1900–1925] (Tel Aviv: Muzeʾon Nachum Gutman, 2005).

20. Salten, Felix, Bambi: Korot ḥayim ba-ya‘ar, trans. Ben-Avram, M. Kh. (Tel Aviv: Masada and Mosad Bialik, 1941)Google Scholar.

21. Nurit Govrin, from a radio talk on Rosh Ha-shanah 5764, available [in Hebrew] at http://www.dafdaf.co.il/Details.asp?MenuID=82&SubMenuID=139&PageID=1613&Cat=%E2%E5%E1%F8%E9%EF%20%F0%E5%F8%E9%FA.

22. Darr, Yael, “Correcting the Negation of Exile: Educators and Children's Books in ʾEreẓ Yisraʾel's Reconciliation with the Diaspora during the Holocaust” [in Hebrew], Dapim: Studies of the Shoah (2004): 55–76Google Scholar.

23. Ibid., 70.

24. Felix Salten, Bambi, trans. A. Bin-Nun, illustrated by Nachum Gutman (first edition, 1944; ʾEl Ha-Maʿayan edition, 1950; and subsequent editions published by Amichai Press). Other Hebrew editions include Pesach Ginsburg's translated adaptation using Disney's cels in Bambi (Tel Aviv: Miẓpe, 1944); Bat-Chen, Yael, Bambi (Tel Aviv: Daat, 1946); Shlomo Skolski, Bambi (Tel Aviv: S. Friedman, 1957)Google Scholar.

25. Ha-mashkif, June 8, 1944, 3. Tel Aviv and Haifa theaters continued to show the film over the next two decades. See Tel Aviv's Allenby Theater advertisement, which continued to run for the rest of the war years, in Ha-mashkif, May 31, 1944, 3. See advertisement for Bambi in Haifa in Ha-ẓafa, December 20, 1949, 3.

26. Later, the Ministry of Communications. See Israel State Archives, Jerusalem, Maps-000i3zm.

27. Herzl Hakak, “Kakh ʿuẓvu simle ha-medinah ve-do'ar Yisraʾel” [How the symbols of the state and the post were designed], Shevel (May 2014): 9–10.

28. To see the other entries, see Israel State Archives, Jerusalem, Maps-000i3zm; -000i3zn; -000cvxl.

29. Meir Persoff, The Running Stag: The Stamps and Postal History of Israel (London: Robson Lowe, 1973), 61, 91.

30. Batia Donner, Shamir: Hebrew Graphics, Shamir Brothers Studio (Tel Aviv: Tel Aviv Museum of Art, 1999), 76.

31. John R. Chamberlain, “Poetry and Philosophy in a Tale of Forest Life,” The New York Times Book Review, July 8, 1928, 53.

32. Felix Salten, Bambi, trans. Whittaker Chambers (New York: Grosset & Dunlap and Simon & Schuster, 1929), inside publisher's note.

33. Print run reported in publisher's preface.

34. Salten, Bambi, trans. Chambers, inside publisher's note.

35. Sidney Franklin to Walt Disney, April 20, 1935, misc. file, Walt Disney Archives.

36. See, for example, Allan, Robin, Walt Disney and Europe (London: John Libby, 1999), 181CrossRefGoogle Scholar.

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38. Johnston, Ollie and Thomas, Frank, Walt Disney's Bambi: The Story and the Film (New York: Stewart, Tabori & Chang, 1990), 104Google Scholar.

39. See reviews: “Bambi Review,” The Hollywood Reporter, May 26, 1942, 3; Zachary Gold, “Bambi,” Modern Screen, October 1942, 7–8; Manny Farber, “Saccharine Symphony—Bambi,” The New Republic, June 29, 1942, reprinted in Danny and Peary, Gerald, eds., The American Animated Cartoon: A Critical Anthology (New York: E. P. Dutton, 1980), 90–91Google Scholar.

40. Bosley Crowther, “Bambi,” New York Times, August 23, 1942.

41. “Walt Disney's Bambi: The Making of an Animated Sound Picture,” Young People's Gallery of the Museum of Modern Art [MoMA exh. #189], July 15–August 20, 1942.

42. “Museum of Modern Art Shows Original Material from Bambi and Other Disney Films in Exhibition of Animated Film Making,” press review and installation photographs, Exhibition Records 1929–1959 in the MoMA Archives, folder 189.1, digitized record available at https://www.moma.org/documents/moma_press-release_325326.pdf.

43. Iris Barry to Archibald MacLeish, May 20, 1943, Museum of Modern Art–Library of Congress Papers, Celeste Bartos International Film Study Center, Museum of Modern Art, New York, box 3, file H. For more on the formation of the national film library, see Decherney, Peter, Hollywood and the Culture Elite: How the Movies Became American (New York: Columbia University Press, 2005), 154CrossRefGoogle Scholar.

44. Hollywood Reporter also claimed that the film had been dubbed into Russian with “new lyrics, the narration, and dialogue” prepared by Russian-born character actor Leonid Kinskey. See Hollywood Reporter, December 1, 1943, 1.

45. Volkov, A., Khudozhniki Sovetskogo mul'tfil’ma. Al'bom (Moscow: Sovetskii khudozhnik, 1978), 16Google Scholar.

46. Jay Leyda and Naum Klein, eds., Eisenstein on Disney, trans. Alan Upchurch (London: Metheum, 1988), 63.

47. Ibid.

48. Kapterev, Sergei, “Illusionary Spoils: Soviet Attitudes toward American Cinema during the Early Cold War,” Kritika 10, no. 4 (Fall 2009): 779Google Scholar.

49. Ivan Ivanov-Vano, “Iskusstvo mul'tiplikatsii,” Iskusstvo kino 6 (October 1947): 22. See also the analysis of Bambi in Asenin, Sergei, Volshebniki ekrana (Moscow: Iskusstvo, 1974), 34–36Google Scholar.

50. On the influence of Bambi on Soviet animation, see Ivanov-Vano, Ivan, Kadr za kadrom (Moscow: Iskusstvo, 1980), 125–26Google Scholar.

51. “Bambi Big Moscow Hit; Charley's Aunt Ditto,” The Film Daily, June 20, 1945, 2. See also Volkov, A., Khudozhniki sovetskogo mul'tfil’ma. Al'bom (Moscow: Sovetskii khudozhnik, 1978), 16Google Scholar.

52. For a list of Russian films imported to the United States and American films exported to the Soviet Union in 1943, see “17 from Russia,” Motion Picture Herald, July 31, 1943, 9; “Russia Will Have Show Window on Broadway,” Motion Picture Herald, August 21, 1943, 21. On the Soviet release in 1945, see “Ministerstvo Kul'tury SSSR” (Catalogue of Foreign Sound Films Released on the Soviet Screens, 1927–1954), Russian and Soviet Cinema 10, no. 2 (2016): 123–98 [no. 26].

53. Yuri Nagibin, Dnevnik [Diary], ed. Yuri Kuvaldin (Moscow: Knizhnii Sad, 1996). Available online at http://kuvaldinur.narod.ru/kuvaldin-ru/nagibin-dnevnik.html.

54. For the issue of religion in the translation of Bambi in communist Slovene, see Pokorn, Nike K., “A World without God,” in Why Translation Studies Matters, ed. Gile, Daniel, Hansen, Gyde, and K., Nike Pokorn (Amsterdam: Benjamins Translation Library, 2010), 57–68CrossRefGoogle Scholar. See also Mineralova, Irina, ed., Zarubezhnye detskie pisateli v Rossii: Biobibliograpficheskii slovar’ (Moscow: Flinta, 2011), 178–81Google Scholar.

55. Salten, Bambi, trans. Chambers.

56. Felix Salten, Bambi, trans. Yuri Nagibin (1946; Moscow: Gosudarstvennoe Izdatel'stvo Detskoi Literatury Ministerstva Prosveshcheniia RSFSR, 1957).

57. Salten, Bambi, trans. Nagibin.

58. Platt, David, ed., Celluloid Power: Social Film Criticism from The Birth of a Nation to Judgement at Nuremberg (Metuchen, NJ: Scarecrow Press, 1992), 436Google Scholar.

59. See “A Speech by Mikhail Romm,” Commentary, December 1963, 433–37. On March 4, 1949, the Minister of Cinematography (then Bolshakov) published a personal attack on the Jewish film director Leonid Trauberg in Pravda, accusing him as “the ringleader of the cosmopolitans of the cinema.”

60. On Chambers's testimony before HUAC in August–December 1948, see Tanenhaus, Sam, Whittaker Chambers: A Biography (New York: Random House, 1997)Google Scholar.

61. “Moscow: No Bambi,” Life, October 25, 1948, 57.

62. Ibid., 60.

63. This was reported in “The Russian Example of What Constitutes Sinister Influence,” Harrison's Reports 30, no. 45, November 6, 1948, 11.

64. Kellman, Steven G., “Jews, Beasts, and Americans,” Studies in American Jewish Literature 5 (1986): 63Google Scholar.

65. On the Jewish employees and their work in the Soviet animation studio, see Katz, Maya Balakirsky, Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick, NJ: Rutgers University Press, 2016), 1–26CrossRefGoogle Scholar.

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67. Maliantovich, Kirill, “Kak barolis’ s kosmopolitami Soiuzmul'tfil’me,” Kinovedcheskie zapiski 52 (2001): 191–92Google Scholar.

68. Ibid., 191–96. See also the criticism of Ivanov-Vano on ideological grounds in V. Balashov, “Na putiakh k bol'shomu iskusstvu,” Iskusstvo kino 5 (October 1948): 17–19.

69. See Hanson, Patricia King, ed., The American Film Institute Catalogue of Motion Pictures in the United States: Feature Films, 1941–1950, vols. 1 and 2 (Berkeley: University of California Press, 1999), 144Google Scholar.

70. “Hit Back or Die!,” Filmindia 14, no. 10, October 1948, 5. For a negative take on Soviet attempts to enter the Indian film market, see “Bolshevism through Films,” Filmindia 14, no. 11, November 1948, 3–7.

71. “Bambi, Film Missionary,” The Film Daily, December 5, 1947, 4.

72. Kothenschulte, Daniel, Walt Disney Film Archives: The Animated Movies 1921–1969 (Cologne: Taschen, 2016), 233Google Scholar.

73. For a discussion on Baghdadi Jews in the Indian film industry, see Navras Jaat Aafreedi, “The Jews of Bollywood: How Jews Established the World's Largest Film Industry,” Asian Jewish Life 17 (March 2016): 21.

74. Bendazzi, Giannalberto, ed., Animation—A World History (Boca Raton, FL: CRC Press, 2016), 2:388Google Scholar.

75. Rajagopalan, Sudha, Indian Films in Soviet Cinemas: The Culture of Movie-Going after Stalin (Bloomington: Indiana University Press, 2008)Google Scholar; Salazkina, Masha, “Soviet-Indian Coproductions: Alibaba as Political Allegory,” Cinema Journal 49, no. 4 (Summer 2010): 74Google Scholar.

76. See also Ermash, Filip, “Novyi etap sovetsko-indiiskogo sotrudnichestva i sodruzhestvo kinematografii,” Iskusstvo kino 4 (1981): 150Google Scholar. “Japan imported 11 pictures from Four ‘Iron Curtain’ Countries,” Motion Picture Daily 78, no. 18, July 27, 1955, 9. In Poland (Zlota antylopa) and Finland (Kultainen antiloopi), Soyuzmultfilm contracted local actors to redub the film into national languages. Under the title El antilope dorado, the film was redubbed into Spanish three times using local national actors for distribution to Mexico, Chile, and Peru in the late 1960s for television. In France (L'antilope d'or), Spain (El antilope dorado), and Denmark (Den gyldne antilope), the original score was replaced by a score that used Indian instruments such as the sitar.

77. “Na studii Soiuzmul'tfil’m,” Iskusstvo kino 3 (March 1954): 122–23. For India's warm response to the festival and its films, see articles by Indian filmmaker Khwaja Ahmad Abbas in “Druzhba nashikh stran—zalog mira vo vsem mire,” Iskusstvo kino 11 (November 1954): 117; “Novye raboty indiiskikh kinematografistov,” Iskusstvo kino 2 (February 1956): 86–89; “Narod govorit c narodom,” Ogoniok, October 28, 1956, 17.

78. Comment by Voronov in the postproduction Artistic Council Meeting of June 15, 1954, in Russian State Archive of Literature and Art (RGALI), f. 2469, op. 1, d. 262, 4.

79. This cultural forgetting is also due to the return of Nagibin's Russian translation in the post-Stalinist cultural thaw. Nagibin's translation enjoyed many editions, with dozens of illustrators, including Georgii Evlampievich Nikol'skii (Moscow: Detskaia literatura, 1957); H. A. Avrutis (Novosibirsk: Novosibirsk Book Publishing House, 1958), and artist L. Kuznetsov's 1972 filmstrip (Moscow, Studio DiaFilm).

80. Katz, Drawing the Iron Curtain, 1–26.

81. David Robinson, personal communication, December 12, 2016; December 14, 2016. I thank Ilia Rodov for relating a conversation with Anna Atamanov, October 30, 2017, in which the daughter of the director of The Golden Antelope recalled Abramov very well and confirmed his Jewish origins.

82. See Nik. Abramov, “Premirovannye Amerikanskie fil'my 1945 goda,” Iskusstvo kino 4 (April 1946): 31. Abramov would devote a full-length study to the cinematographic treatment of the war in Kinoiskusstvo Zapada o voine (Moscow: Nauka, 1965). See also, Abramov, Nikolai, “Mul'tfil’m: Politika, filosofiia, poeziia,” in Mify i real'nost’: Zarubezhnod kino segodnia. Sbornik statei; vypusk 6, ed. Shaternikova, M. (Moscow: Iskusstvo, 1978), 192–211Google Scholar.

83. RGALI, f. 2469, op. 1, d. 1110, 2, 20.

84. Ibid., 20.

85. Ibid., 20–23.

86. Ibid., 22, 38.

87. Ibid., 16.

88. On the editing of Jewish representations of the war, see Gershenson, Olga, The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (New Brunswick, NJ: Rutgers University Press, 2013)CrossRefGoogle Scholar.

89. RGALI, f. 2469, op. 1, d. 1110, 23.

90. Ibid., 16.

91. Including assistant director Roman Kachanov (1921–1993), whose family was murdered in Smolensk; artist Leonid Shvartsman (b. 1920), whose Jewish hometown was destroyed in Minsk; composer Vladimir Jurowski (1915–1972), who hailed from a destroyed Jewish town in the Kiev environs and joined the Jewish Anti-Fascist Committee (JAC) alongside his father-in-law, who was instrumental in bringing Golda Meir to Moscow in 1948; and composer Grigorii Gamburg (1900–1967), who had been active in Jewish music in the 1920s but had lost his entire family and childhood home in Warsaw during the war.

92. Samatar, Sofia, “Spectacle of the Other: Recreating A Thousand and One Nights in Film,” in Fairy-Tale Films beyond Disney: International Perspectives, ed. Zipes, Jack, Greenhill, Pauline, and Magnus-Johnston, Kendra (New York: Routledge, 2016), 39Google Scholar.

93. Larisa Malyukova, interview with Leonid Shvartsman, http://www.animator.ru/articles/article.phtml?id=24.

94. Interview with Leonid Shvartsman, https://moslenta.ru/city/schwartzman_2.htm.

95. In the illustrated script series Filmy-skazki 3 (Moscow: Iskusstvo, 1955) (republished in 1966 and 1976), an image of the leaping antelope based on Shvartsman's design appears on the inside cover.

96. See http://izvestia.ru/news/590748. See the description by Jewish artistic director Leonid Shvartsman in Kapok, Sergei, “Mastera durakovalyaniya,” Kinovedcheskie zapiski 80 (2006): 237Google Scholar. Abramova, N. N., Klassik po imeni Lelia v strane Mul'tiplika’tsii (Moscow: Kluch-S, 2010)Google Scholar, 12, 40, 52.

97. Gr[igory] Chakhiryan, “Zolotaia antilopa,” Iskusstvo kino 12 (December 1954): 101.

98. Sh. Friedman to Golda Meyerson, telegraph, September 21, 1948, reprinted [in Hebrew] in Documents on Israeli-Soviet Relations, 1941–53, ed. Eytan Bentsur and Boris Leonidovich Kolokolov (London: Frank Cass, 2000), 2:620.

99. Gerald Cohen, “When Is a First Day Cover Not a First Day Cover?,” The Israel Philatelist (December 1996): 7676.

100. Freundlich, Yehoshua, ed., Documents on the Foreign Policy of Israel, vol. 1, May 14–September 1948 (Jerusalem: printed by the Government Printer at Hamakor Press, 1981), xiiiGoogle Scholar.

101. For statistical information on this stamp, see S. Abraham and E. Rabinowitz, “75^th Anniversary of the Universal Postal Union,” The Israel Philatelist (August 1994): 7072. For other variations, see William D. Farber, “Postmarks and Post Offices of Israel,” The Israel Philatelist (August 2000): 140–45; David J. Simmons, “Basic Israel Philately-Second Edition-Part 2,” The Israel Philatelist (October 2001): 191–92.