Holocaust Cinema In The Twenty First Century Images Memory And The Ethics Of Representation
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Holocaust Cinema in the Twenty-First Century
Author: Gerd Bayer
language: en
Publisher: Columbia University Press
Release Date: 2015-12-01
In the first fifteen years of the twenty-first century, a large number of films were produced in Europe, Israel, the United States, and elsewhere addressing the historical reality and the legacy of the Holocaust. Contemporary Holocaust cinema exists at the intersection of national cultural traditions, aesthetic conventions, and the inner logic of popular forms of entertainment. It also reacts to developments in both fiction and documentary films following the innovations of a postmodern aesthetic. With the number of witnesses to the atrocities of Nazi Germany dwindling, medialized representations of the Holocaust take on greater cultural significance. At the same time, visual responses to the task of keeping memories alive have to readjust their value systems and reconsider their artistic choices. Both established directors and a new generation of filmmakers have tackled the ethically difficult task of finding a visual language to represent the past that is also relatable to viewers. Both geographical and spatial principles of Holocaust memory are frequently addressed in original ways. Another development concentrates on perpetrator figures, adding questions related to guilt and memory. Covering such diverse topics, this volume brings together scholars from cultural studies, literary studies, and film studies. Their analyses of twenty-first-century Holocaust films venture across national and linguistic boundaries and make visible various formal and intertextual relationships within the substantial body of Holocaust cinema.
Image, History and Memory
This book discusses the active relationship among the mechanics of memory, visual practices, and historical narratives. Reflection on memory and its ties with historical narratives cannot be separated from reflection on the visual and the image as its points of reference which function in time. This volume addresses precisely that temporal aspect of the image, without reducing it to a neutral trace of the past, a mnemotechnical support of memory. As a commemorative device, the image fixes, structures, and crystalizes memory, turning the view of the past into myth. It may, however, also stimulate, transform, and update memory, functioning as a matrix of interpretation and understanding the past. The book questions whether the functioning of the visual matrices of memory can be related to a particular historical and geographical scope, that is, to Central and Eastern Europe, and whether it is possible to find their origin and decide if they are just local and regional or perhaps also Western European and universal. It focuses on the artistic reflection on time and history, in the reconstructions of memory due to change of frontiers and political regimes, as well as endeavours to impose some specific political structure on territories which were complex and mixed in terms of national identity, religion and social composition. The volume is ideal for students and scholars of memory studies, history and visual studies.
Memory and the Gothic Aesthetic in Film
Author: Joana Jacob Ramalho
language: en
Publisher: Springer Nature
Release Date: 2024-11-29
This open access book defines the cinematic Gothic as an aesthetics of memory and exile. Guided by three intersecting concepts – memory, travelling, and touch – it suggests that the cross-border movements of exiles, émigrés, and professional travellers had a crucial impact on the emergence, development, and dissemination of the Gothic. This approach expands the canon to overlooked films, filmmakers, and national traditions. Drawing on film, memory, and gothic studies, the book urges the reader to think across other disciplines, including phenomenology, neurology, cognitive neuroscience, and disability studies. From hands to pianos, accordions, gloves, amnesia, and wounded bodies, the volume proposes a reappraisal of the Gothic by redrawing its scope, retracing its origins, and refocusing attention on surfaces as sites of socio-political meaning.