Features a new section on the institutional settings of German Jewish Studies, a Film Forum on Shahar Rozen's 1998 documentary Liebe Perla, and interviews with Paul Mendes-Flohr and Barbara Honigmann, among other contributions. Nexus is the official publication of the biennial German Jewish Studies Workshop at the University of Notre Dame. Together, Nexus and the Workshop constitute the first ongoing German Jewish Studies forum in North America. Because the locus of scholarship is never incidental, Nexus 6 introduces a new section, "Contexts," to examine, in this case, what it means to pursue German Jewish Studies at a Catholic university, Notre Dame. And because research is never static, it inaugurates a series in which scholars revisit their own prior scholarly publications. Robert Smith launches this initiative by revising his view of Dietrich Bonhoeffer as a source for post-Holocaust Christian-Jewish dialogue. The volume also offers conversations with the legendary Paul Mendes-Flohr on his understanding of the German Jewish "legacy" and with Barbara Honigmann on her distinctive prose style and what it means to her to practice Judaism. The popular Film Forum section returns, this time focusing on Shahar Rozen's 1998 documentary Liebe Perla. Nexus 6 also presents new scholarship on Babi Yar Holocaust memorials, Freud's famous Moses essay, Primo Levi's translation of Kafka, and an introduction to and first English translation of the 18th-century philosopher Salomon Maimon's understudied essay History of His Philosophical Authorship in Dialogues.

In The Construction of Testimony: Claude Lanzmann's Shoah and Its Outtakes, editors Erin McGlothlin, Brad Prager, and Markus Zisselsberger gather contributions on how Shoah (1985) fundamentally changed the nature and use of filmed testimony and laid the groundwork for how historians and documentarians regard and understand the history of the Holocaust. Critics have taken long note of Shoah's innovative style and its place in the history of documentary film and in cultural memory, but few scholars have touched on its extensive outtakes and the reams of documentation archived at the United States Holocaust Memorial Museum and at Yad Vashem, or the release of five feature-length documentaries based on the material in those outtakes. The Construction of Testimony, which contains thirteen essays by some of the most notable scholars in Holocaust film studies, reexamines Lanzmann's body of work, his film, and the impact of Shoah through this trove-over 220 hours-of previously unavailable and unexplored footage. Responding to the need for a sustained examination of Lanzmann's impact on historical and filmic approaches to testimony, this volume inaugurates a new era of scholarship, one that takes a critical position vis-a-vis the filmmaker's posturing, stylization, and editorial sleight-of-hand. The volume's contributors engage with a range of dimensions central to Lanzmann's filmography and the outtakes, including the dynamics of gender in his work, his representation of Nazi perpetrators, and complex issues of language and translation. In light of Lanzmann's invention of a radically new form of witnessing and remembrance, Shoah laid the framework for the ways in which subsequent filmmakers have represented the Holocaust cinematically; at the same time, the outtakes complicate this framework by revealing new details about the filmmaker's complex editorial choices. Scholars and students of film studies and Holocaust studies will value this close analysis.

In The Construction of Testimony: Claude Lanzmann's Shoah and Its Outtakes, editors Erin McGlothlin, Brad Prager, and Markus Zisselsberger gather contributions on how Shoah (1985) fundamentally changed the nature and use of filmed testimony and laid the groundwork for how historians and documentarians regard and understand the history of the Holocaust. Critics have taken long note of Shoah's innovative style and its place in the history of documentary film and in cultural memory, but few scholars have touched on its extensive outtakes and the reams of documentation archived at the United States Holocaust Memorial Museum and at Yad Vashem, or the release of five feature-length documentaries based on the material in those outtakes. The Construction of Testimony, which contains thirteen essays by some of the most notable scholars in Holocaust film studies, reexamines Lanzmann's body of work, his film, and the impact of Shoah through this trove-over 220 hours-of previously unavailable and unexplored footage. Responding to the need for a sustained examination of Lanzmann's impact on historical and filmic approaches to testimony, this volume inaugurates a new era of scholarship, one that takes a critical position vis-a-vis the filmmaker's posturing, stylization, and editorial sleight-of-hand. The volume's contributors engage with a range of dimensions central to Lanzmann's filmography and the outtakes, including the dynamics of gender in his work, his representation of Nazi perpetrators, and complex issues of language and translation. In light of Lanzmann's invention of a radically new form of witnessing and remembrance, Shoah laid the framework for the ways in which subsequent filmmakers have represented the Holocaust cinematically; at the same time, the outtakes complicate this framework by revealing new details about the filmmaker's complex editorial choices. Scholars and students of film studies and Holocaust studies will value this close analysis.