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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.
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. -- .
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."
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.
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.
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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