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Holocaust Fiction examines the controversies which have accompanied the publication of novels which represent the Holocaust. It looks at the most controversial Holocaust literature, the violently mixed receptions of these fictions, and what can be concluded from their reception about the ethics and practice of millennial Holocaust literature. The novels examined, including some for the first time, are: * Time's Arrow by Martin Amis * The White Hotel by D.M. Thomas * The Painted Bird by Jerzy Kosinski * Schindler's List by Thomas Keneally * Sophie's Choice by William Styron * The Hand that Signed the Paper by Helen Darville In this compelling book, Sue Vice takes issue with the idea that the Holocaust should only be represented factually, and argues that Holocaust Fiction is not only a legitimate, but an important genre which it is essential to come to terms with. With Holocaust Fiction, Sue Vice adds a new, intelligent and contentious voice to the key debates within Holocaust studies.
Holocaust Fiction examines the controversies which have accompanied the publication of novels which represent the Holocaust. It looks at the most controversial Holocaust literature, the violently mixed receptions of these fictions, and what can be concluded from their reception about the ethics and practice of millennial Holocaust literature. The novels examined, including some for the first time, are: * Time's Arrow by Martin Amis * The White Hotel by D.M. Thomas * The Painted Bird by Jerzy Kosinski * Schindler's List by Thomas Keneally * Sophie's Choice by William Styron * The Hand that Signed the Paper by Helen Darville In this compelling book, Sue Vice takes issue with the idea that the Holocaust should only be represented factually, and argues that Holocaust Fiction is a legitimate and important genre which it is essential to come to terms with With Holocaust Fiction, Sue Vice adds a new, intelligent and contentious voice to the key debates within Holocaust studies.
Memory loss is not always viewed purely as a contingent
neurobiological process present in an ageing population; rather, it
is frequently related to larger societal issues and political
debates. This edited volume examines how different media and genres
- novels, auto/biographical writings, documentary as well as
fictional films and graphic memoirs - represent dementia for the
sake of critical explorations of memory, trauma and contested
truths. In ten analytical chapters and one piece of graphic art,
the contributors examine the ways in which what might seem to be
the individual, ahistorical diseases of dementia are used in
contemporary cultural texts to represent and respond to violent
historical and political events - ranging from the Holocaust to
postcolonial conditions - all of which can prove difficult to
remember. Combining approaches from literary studies with insights
from memory studies, trauma studies, anthropology, the critical
medical humanities and media, film and comics studies, this volume
explores the politics of dementia and incites new debates on
cultures of remembrance, while remaining attentive to the lived
reality of dementia.
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Shoah (Paperback)
Sue Vice
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R395
R327
Discovery Miles 3 270
Save R68 (17%)
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Claude Lanzmann's nine-and-a-half-hour 1985 epic "Shoah"--its
title is the Hebrew word for "catastrophe"--is the distillation of
more than 350 hours of film gathered over 11 years. It tells the
story of the Holocaust through interviews with the survivors,
bystanders, and perpetrators. In 2000, the "Guardian" film critic
Derek Malcolm called it "one of the most remarkable films ever
made." It has also provoked debates about the very possibility of
Holocaust representation. Sue Vice provides a devoted study of the
film, discussing the problematic role of Lanzmann as the director
and the numerous controversies and conclusions that "Shoah "has
produced. Some of the topics she covers are: Lanzmann as filmmaker,
mise-en-scene, Lanzmann as interviewer, the ethics of filming,
testimony, and more.
This is the first-ever critical work on Jack Rosenthal, the
award-winning British television dramatist. His career began with
Coronation Street in the 1960s and he became famous for his popular
sitcoms, including The Lovers and The Dustbinmen. During what is
often known as the golden age' of British television drama,
Rosenthal wrote such plays as The Knowledge, The Chain, Spend,
Spend, Spend and P'tang, Yang, Kipperbang, as well as the pilot for
the series London's Burning. This study offers a close analysis of
all Rosenthal's best-known works, drawing on archival material as
well as interviews with his collaborators and cast members. It
traces the events that informed his writing, ranging from his comic
take on the permissive society' of the 1960s, through to recession
in the 1970s and Thatcherism in the 1980s. Rosenthal's distinctive
brand of humour and its everyday surrealism is contrasted
throughout with the work of his contemporaries, including Dennis
Potter, Alan Bleasdale and Johnny Speight, and his influence on
contemporary television and film is analysed. Rosenthal is not
usually placed in the canon of Anglo-Jewish writing but the book
argues this case by focusing on his prize-winning Plays for Today
The Evacuees and Bar Mitzvah Boy. This book will appeal to students
and researchers in Television, Film and Cultural Studies, as well
as those interested in contemporary drama and Jewish Studies. -- .
As we approach the end of the 'era of the witness', given the
passing on of the generation of Holocaust survivors, Claude
Lanzmann's archive of 220 hours of footage excluded from his
ground-breaking documentary Shoah (1985) offers a remarkable
opportunity to encounter previously unseen interviews with
survivors and other witnesses, recorded in the late 1970s. Although
the archive is all available freely to view online and includes
extra footage of those who appear in Shoah, this book focuses on
the interviews from which no extracts appear in the finished film
or in any subsequent release. The material analysed features
interviews with such significant figures as the former partisan
Abba Kovner, wartime activist Hansi Brand, Kovno Ghetto leader Leib
Garfunkel, rescuer Tadeusz Pankiewicz and members of Roosevelt's
War Refugee Board, and focuses throughout on the efforts at rescue
and resistance by those within and outside occupied Europe. Sue
Vice contends that watching and analysing this wholly excluded
footage gives us new insights into the making of Shoah through what
was left out. Moreover, she reveals that the near-impossibility of
rescue and often suicidal implications of resistance emerge through
these excluded interviews as inextricable from the process of
genocide. She concludes by arguing that the outtakes show the
potential for new filmic forms envisaged on Lanzmann's part in
order to represent the crucial topics of attempted Holocaust rescue
and resistance.
The Russian critic and theorist Mikhail Bakhtin is once again in
favor, his influence spreading across many discourses including
literature, film, cultural and gender studies. This book provides
the most comprehensive introduction to Bakhtin’s central concepts
and terms. Sue Vice illustrates what is meant by such ideas as
carnival, the grotesque body, dialogism and heteroglossia. These
concepts are then placed in a contemporary context by drawing out
the implications of Bakhtin’s writings, for current issues such as
feminism and sexuality. Vice’s examples are always practically
based on specific texts such as the film "Thelma and Louise, "
Helen Zahavi’s "Dirty Weekend" and James Kelman's "How late it was,
how late."
This collection of essays by leading and new British scholars
focuses on central issues in Holocaust studies. The topics
discussed here include the history and work of the Research Centre
for German and Austrian Exile Studies in London; controversies over
Holocaust Museums, Holocaust Remembrance Day, and the Holocaust
industry; a biography of Scottish-Jewish playwright C.P. Taylor,
whose best-known play, Good, is about Nazism; the representation of
the Holocaust in diary, testimony, film and poetry; Primo Levi's
work; and the scandal of Binjamin Wilkomirski's inauthentic
testimony Fragments. recent work in Holocaust studies which focuses
exclusively on its reception and reputation in the USA. Rather,
this volume charts British concerns. It has been commisssioned in
memory of Bryan Burns, who taught at the University of Sheffield
and had a central role in establishing the first British MA in
Holocaust Studies; he was working on a study of ghetto diaries,
focusing on Kovno, when he died in 2000.
This collection of essays by leading and new British scholars
focuses on central issues in Holocaust studies. The topics
discussed here include the history and work of the Research Centre
for German and Austrian Exile Studies in London; controversies over
Holocaust Museums, Holocaust Remembrance Day, and the Holocaust
industry; a biography of Scottish-Jewish playwright C.P. Taylor,
whose best-known play, Good, is about Nazism; the representation of
the Holocaust in diary, testimony, film and poetry; Primo Levi's
work; and the scandal of Binjamin Wilkomirski's inauthentic
testimony Fragments. recent work in Holocaust studies which focuses
exclusively on its reception and reputation in the USA. Rather,
this volume charts British concerns. It has been commisssioned in
memory of Bryan Burns, who taught at the University of Sheffield
and had a central role in establishing the first British MA in
Holocaust Studies; he was working on a study of ghetto diaries,
focusing on Kovno, when he died in 2000.
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