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.

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.

Barry Hines's novel A Kestrel for a Knave, adapted for the screen as Kes, is one of the best-known and well-loved novels of the post-war period, while his screenplay for the television drama Threads is central to a Cold War-era vision of nuclear attack. But Hines published a further eight novels and nine screenplays between the 1960s and 1990s, as well as writing eleven other works which remain unpublished and unperformed. This study examines the entirety of Hines's work. It argues that he used a great variety of aesthetic forms to represent the lives of working-class people in Britain during the 1960s, 1970s, 1980s and into the post-industrial conclusion of the twentieth century. It also makes the case that, as well as his literary flair for poetic realism, Hines's authorial contributions to the films of his novels show the profoundly collaborative nature of these works. -- .