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Recent representations of the Holocaust have increasingly required us to think beyond rigid demarcations of nation and history, medium and genre. Holocaust Intersections sets out to investigate the many points of conjunction between these categories in recent images of genocide. The book examines transnational constellations in Holocaust cinema and television in Europe, disclosing instances of border-crossing and boundary-troubling at levels of production, distribution and reception. It highlights intersections between film genres, through intertextuality and pastiche, and the deployment of audiovisual Holocaust memory and testimony. Finally, the volume addresses connections between the Holocaust and other histories of genocide in the visual culture of the new millennium, engaging with the questions of transhistoricity and intercultural perspective. Drawing on a wide variety of different media - from cinema and television to installation art and the internet - and on the most recent scholarship on responses to the Holocaust, the volume aims to update our understanding of how visual culture looks at the Holocaust and genocide today. With the contributions: Robert S. C. Gordon, Axel Bangert, Libby Saxton- Introduction Emiliano Perra- Between National and Cosmopolitan: 21st Century Holocaust Television in Britain, France and Italy Judith Keilbach- Title to be announced Laura Rascaroli- Transits: Thinking at the Junctures of Images in Harun Farocki's Respite and Arnaud des Pallieres's Drancy Avenir Maxim Silverman- Haneke and the Camps Barry Langford- Globalising the Holocaust: Fantasies of Annihilation in Contemporary Media Culture Ferzina Banaji- The Nazi Killin' Business: A Post-Modern Pastiche of the Holocaust Matilda Mroz- Neighbours: Polish-Jewish Relations in Contemporary Polish Visual Culture Berber Hagedoorn- Holocaust Representation in the Multi-Platform TV Documentaries De Oorlog (The War) and 13 in de Oorlog (13 in the War) Annette Hamilton- Cambodian Genocide: Ethics and Aesthetics in the Cinema of Rithy Panh Piotr Cieplak, Emma Wilson- The Afterlife of Images
Provides a cutting-edge, nuanced, and multi-disciplinary picture of the Holocaust from local, transnational, continental, and global perspectives Holocaust Studies is a dynamic field that encompasses discussions on human behavior, extremity, and moral action. A diverse range of disciplines – history, philosophy, literature, social psychology, anthropology, geography, amongst others – continue to make important contributions to its scholarship. A Companion to the Holocaust provides exciting commentaries on current and emerging debates and identifies new connections for research. The text incorporates new language, geographies, and approaches to address the precursors of the Holocaust and examine its global consequences. A team of international contributors provides insightful and sophisticated analyses of current trends in Holocaust research that go far beyond common conceptions of the Holocaust’s causes, unfolding and impact. Scholars draw on their original research to interpret current, agenda-setting historical and historiographical debates on the Holocaust. Six broad sections cover wide-ranging topics such as new debates about Nazi perpetrators, arguments about the causes and places of persecution of Jews in Germany and Europe, and Jewish and non-Jewish responses to it, the use of forced labor in the German war economy, representations of the Holocaust witness, and many others. A masterful framing chapter sets the direction and tone of each section’s themes. Comprising over thirty essays, this important addition to Holocaust studies: Offers a remarkable compendium of systematic, comparative, and precise analyses Covers areas and topics not included in any other companion of its type Examines the ongoing cultural, social, and political legacies of the Holocaust Includes discussions on non-European and non-Western geographies, inter-ethnic tensions, and violence A Companion to the Holocaust is an essential resource for students and scholars of European, German, genocide, colonial and Jewish history, as well as those in the general humanities.
School shootings, police misconduct, and sexual assault where people are injured and die dominate the news. What are the connections between such incidents of violence and extreme harm? In this new book, world-renowned sociologist Patricia Hill Collins explores how violence differentially affects people according to their class, sexuality, nationality, and ethnicity. These invisible workings of overlapping power relations give rise to what she terms “lethal intersections,” where multiple forms of oppression converge to catalyze a set of violent practices that fall more heavily on particular groups. Drawing on a rich tapestry of cases, Collins challenges readers to reflect on what counts as violence today and what can be done about it. Resisting violence offers a common thread that weaves together disparate antiviolence projects across the world. When parents of murdered children organize against gun violence, when Black citizens march against the excessive use of police force in their neighborhoods, and when women and girls report sexual abuse by employers, coaches, and community leaders, the ideas and actions of ordinary people lay a foundation for new ways of thinking about and combating violence. Through its ground-breaking analysis, Lethal Intersections aims to stimulate debate about violence as one of the most pressing social problems of our times.
In this groundbreaking book, leading Arab and Jewish intellectuals examine how and why the Holocaust and the Nakba are interlinked without blurring fundamental differences between them. It searches for a new historical and political grammar for relating and narrating their complicated intersections.
John Regnier was an ordinary soldier from Minnesota who found himself at the intersection of the Holocaust. His medical battalion came upon Generals Eisenhower, Bradley and Patton as they were about to tour the first concentration camp liberated by the United States Army. What he saw shocked him and the others who were encouraged by General Eisenhower to take photographs in case a time came when what happened there would be denied. He began speaking out when he heard Holocaust deniers claim it did not happen. He was there. He saw this horrific injustice.
This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory.
This book deconstructs the boundaries between Jewish and Christian cultures while at the same time redefining what it means to be Jewish in relation to Christianity in the twentieth century. Consequently, this analysis reveals the emergence of modern Jewish theologies out of the complex negotiations between Jewish thinkers and their Christian milieu.
In 1997, Saul Friedländer emphasized the need for an integrated history of the Holocaust. His suggestion to connect ‘the policies of the perpetrators, the attitudes of surrounding society, and the world of the victims’ provides the inspiration for this volume. Following in these footsteps, this innovative study approaches Holocaust history through a combination of macro analysis with micro studies. Featuring a range of contemporary research from emerging scholars in the field, this peer-reviewed volume provides detailed engagement with a variety of historical sources, such as documents, artifacts, photos, or text passages. The contributors investigate particular aspects of sound, materiality, space and social perceptions to provide a deeper understanding of the Holocaust, which have often been overlooked or generalised in previous historical research. Yet, as we approach an era of no first hand witnesses, this multidisciplinary, micro-historical approach remains a fundamental aspect of Holocaust research, and can provide a theoretical framework for future studies.
In this volume, the relationship between Jews and media is not only vividly illustrated, but it is consciously drawn into the formation of modern Jewish history and modern media. Maya Balakirsky Katz addresses key Jewish-media intersections in which Jews and mass media implicated (or were implicated by) one another. In this study, Katz discusses the relationship that Jews have had with mass media forms of print, film, photography, advertising, and postcards within the periods that these media have gained cultural ascendancy. These historical moments are tethered to a broader conversation addressing the major theoretical issues at the center of the discourse on Jews and media. Bearing this mutually constructive relationship in mind, Intersections between Jews and Media offers both a tangible demographic portrait of the real Jews who entered mass media and lays a theoretical and methodological framework for more qualitative analyses.
Taking early 21st century Britain as a case study, Rethinking Holocaust Film Reception: A British Case Study presents an intervention into the scholarship on the representation of the Holocaust on film. Based on a study of audience responses to select films, Stefanie Rauch demonstrates that the reception of films about the Holocaust is a complex process that we cannot understand through textual analysis alone, but by also paying attention to individual reception processes. This book restores the agency of viewers and takes seriously their diverse responses to representations of the Holocaust. It demonstrates that viewers’ interpretative resources play an important role in film reception. Viewers regard Holocaust films as a separate genre that they encounter with a set of expectations. The author highlights the implications of Britain’s lessons-focused approach to Holocaust education and commemoration and addresses debates around the supposed globalization of Holocaust memory by unpacking the peculiar Britishness of viewers’ responses to films about the Holocaust. A sense of emotional connection or its absence to the Holocaust and its memory speaks to divisions along ethnic, generational, and national lines.