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mor origins of European Christendom”, translated to the middle of the twen- tieth century, was a factor in making it “no surprise that Christian audiences turned so often to Jews to make them laugh” (141). A book exclusively on the post-war era or with less wide ranging examples could have expanded this dis- cussion and focused further on the comedians’ own voices. More detail would have been helpful at other points as well. A good example is Moss’s account of Woody Allen’s Annie Hall (US 1977) and Manhattan (US 1979), which for Moss are “the peak of Anglo-Christian-Jewish coupling visibility in second-wave cinema” (168–169). Yet, Annie Hall and Manhattan occupy only a little over a page of discussion. Despite these issues, Moss has accomplished a tour de force, and his coupling theory is worth the extended consideration he hopes it will receive (e.g. 264). His work will be of interest to media studies, Jewish studies and American studies, to name just a few relevant areas. FILMOGRAPHY Abie’s Irish Rose (Victor Fleming, US 1928). American Pie (Paul Weitz and Chris Weitz, US 1999). Annie Hall (Woody Allen, US 1977). Manhattan (Woody Allen, US 1979). Roseanne (ABC, US 1988–1997). The Front (Martin Ritt, US 1976). The Jazz Singer (Alan Crosland, US 1927). The Nanny (CBS, US 1993–1999). 130 | Matthew H. Brittingham www.jrfm.eu 2019, 5/1