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When reality becomes fantastic, what literary effects will render it credible or comprehensible? To respond meaningfully to the surreality of the Holocaust, writers must produce works of moral and emotional complexity. One way they have achieved this is through elements of fantasy. Covering a range of theoretical perspectives, this collection of essays explores the use of fantastic story-telling in Holocaust literature and film. Writers such as Jane Yolen and Art Spiegelman are discussed, as well as the sci-fi television series V (1983), Stephen King's novella Apt Pupil (1982), Guillermo del Toro's Pan's Labyrinth (2006) and Martin Scorsese's dark thriller Shutter Island (2010).
The Palgrave Handbook of Holocaust Literature and Culture reflects current approaches to Holocaust literature that open up future thinking on Holocaust representation. The chapters consider diverse generational perspectives—survivor writing, second and third generation—and genres—memoirs, poetry, novels, graphic narratives, films, video-testimonies, and other forms of literary and cultural expression. In turn, these perspectives create interactions among generations, genres, temporalities, and cultural contexts. The volume also participates in the ongoing project of responding to and talking through moments of rupture and incompletion that represent an opportunity to contribute to the making of meaning through the continuation of narratives of the past. As such, the chapters in this volume pose options for reading Holocaust texts, offering openings for further discussion and exploration. The inquiring body of interpretive scholarship responding to the Shoah becomes itself a story, a narrative that materially extends our inquiry into that history.
Planet Auschwitz explores how the Holocaust has influenced science fiction and horror film and television. These genres explore important Holocaust themes - trauma, guilt, grief, ideological fervor and perversion, industrialized killing, and the dangerous afterlife of Nazism after World War II.
Imagining the Unimaginable examines popular fiction's treatment of the Holocaust in the dystopian and alternate history genres of speculative fiction, analyzing the effectiveness of the genre's major works as a lens through which to view the most prominent historical trauma of the 20th century. It surveys a range of British and American authors, from science fiction pulp to Pulitzer Prize winners, building on scholarship across disciplines, including Holocaust studies, trauma studies, and science fiction studies. The conventional discourse around the Holocaust is one of the unapproachable, unknowable, and the unimaginable. The Holocaust has been compared to an earthquake, another planet, another universe, a void. It has been said to be beyond language, or else have its own incomprehensible language, beyond art, and beyond thought. The 'othering' of the event has spurred the phenomenon of non-realist Holocaust literature, engaging with speculative fiction and its history of the uncanny, the grotesque, and the inhuman. This book examines the most common forms of nonmimetic Holocaust fiction, the dystopia and the alternate history, while firmly positioning these forms within a broader pattern of non-realist engagements with the Holocaust.
This is the first book in any language on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.
One of the great intellectual achievements of the 20th century, Joseph Campbell's The Hero with a Thousand Faces is an elaborate articulation of the monomyth: the narrative pattern underlying countless stories from the most ancient myths and legends to the films and television series of today. The monomyth's fundamental storyline, in Campbell's words, sees "the hero venture forth from the world of the common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons to his fellow man." Campbell asserted that the hero is each of us--thus the monomyth's endurance as a compelling plot structure. This study examines the monomyth in the context of Campbell's The Hero and discusses the use of this versatile narrative in 26 films and two television shows produced between 1960 and 2009, including the initial Star Wars trilogy (1977-1983), The Time Machine (1960), Logan's Run (1976), Escape from New York (1981), Tron (1982), The Terminator (1984), The Matrix (1999), the first 11 Star Trek films (1979-2009), and the Sci Fi Channel's miniseries Frank Herbert's Dune (2000) and Frank Herbert's Children of Dune (2003).
The essays collected in this volume address a wide spectrum of issues connected to traumatic events and experiences, be they of personal, collective, national or global scale. They are complemented by poetic contemplations on trauma, which set the tone for the following scholarly investigations. The thematic scope of the collection encompasses psychological, sociological and political approaches to trauma, examples of ethnic and indigenous traumatizations, literary, cultural and visual manifestations of trauma or the medialization of trauma in the museum. As a result of the comparative, and in some cases cross-hermeneutic, design of the volume with German scholars looking at Canadian and Canadian scholars looking at German/European examples of traumatization, transatlantic perspectives on the problems at stake are opened. Contributors: Dennis Cooley (Winnipeg), Martin Endress (Trier), James Fergusson (Winnipeg), Konrad Gross (Kiel), Ralf Hertel (Trier), Kristin Husen (Trier), Stephan Jaeger (Winnipeg), Uli Jung (Trier), Wolfgang Klooss (Trier), Martin Kuester (Marburg), Hartmut Lutz (Greifswald), Wolfgang Lutz (Trier), Adam Muller (Winnipeg), Markus M. Müller (Trier), Laurie Ricou (Vancouver), Susanne Rohr (Hamburg), Robert Schwartzwald (Montréal), Struan Sinclair (Winnipeg), David Staines (Ottawa), Katherine E. Walton (Toronto), Andrew Woolford (Winnipeg).
A killer monkey. Suburban witchcraft. Motorcycle jousting. A cockroach invasion. Despite this enticing list of other subjects, George A. Romero is best known for the genre-defining 1968 film Night of the Living Dead and subsequent zombie films. The non-zombie films in his decades-long career have gotten varied degrees of critical examination but they remain underexamined compared to the Dead flicks. This book focuses on Romero's "other" work, highlighting lesser-known films such as There's Always Vanilla (1971) and Bruiser (2000), as well as more popular films such as Martin (1977) and The Crazies (1973). It examines how his body of work participates in social critique by delving into issues such as capitalism's pitfalls and excesses, domestic and racial power imbalances, and our patriarchal culture's expectations of masculinity, femininity, and sexuality.
The birth of modern fantasy in 1930s Britain and America saw the development of new literary and film genres. J.R.R. Tolkien created modern fantasy with The Lord of the Rings, set in a fictional world based upon his life in the early 20th century British Empire, and his love of language and medieval literature. In small-town Texas, Robert E. Howard pounded out his own fantasy realm in his Conan stories, published serially in the ephemeral pulp magazines he loved. Jerry Siegel created Superman with Joe Shuster, and laid the foundation for perhaps the most far-reaching fantasy worlds: the universe of DC and Marvel comics. The work of extraordinary people who lived in an extraordinary decade, this modern fantasy canon still provides source material for the most successful literary and film franchises of the 21st century. Modern fantasy speaks to the human experience and still shows its origins from the lives and times of its creators.