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During World War II, London was at its most perilous moment since the Great Fire of 1666. Districts were transformed at night by falling bombs, fires, and searchlights. During the day, when the results of the previous night's bombing were laid bare, ordinary people dealt with the aftermath as best they could. In 1939, the Ministry of Information set up the War Artists Advisory Committee (WAAC) to compile an artistic record of Britain during the war. After the war had ended, more than half of the paintings commissioned--some three thousand works--ended up in the Imperial War Museums collection. Wartime London in Paintings showcases seventy oil paintings from the IWM's unmatched collection in one stunning illustrated volume, portraying the ordinary and the extraordinary of London at the time. Featuring works by some of the most famous war artists of the conflict--including Graham Sutherland, Henry Moore, Edward Ardizzone, and more--this incredible visual exploration of a wartime city gives readers a firsthand look at how London coped during one of the most significant periods of its history.
At the height of the Second World War, Britain's skies were alight with dogfights, and its towns and cities bustling with the manufacturing of aircraft. The distant thunder of Spitfires, Hurricanes and bombers became a recurring sound, and rolling landscapes littered with airfields a familiar sight. As the air war transformed Britain's towns and countryside, it also ignited the imaginations of artists. The Air War in Paintings reveals how the artists of the 1940s responded to the unfolding air war in Britain, illuminating their private anxieties, their ambitions and their experiences. Drawing on the Imperial War Museum's unrivalled collection, this richly illustrated book explores how war artists recorded and documented all aspects of the vast efforts to build Britain's air capacity at a crucial time in its history
This innovative and often moving body of work draws on the results of research in a dozen countries spanning Eastern and Western Europe. --
This book explores the Holocaust exhibition opened within the Imperial War Museum (IWM) in 2000; setting out the long and often contentious debates surrounding the conception, design, and finally the opening of an important exhibition within a national museum in Britain. It considers a process of memory-making through an assessment of Holocaust photographs, material culture, and survivor testimonies; exploring theories of cultural memory as they apply to the national museum context. Anchored in time and place, the Holocaust exhibition within Britain’s national museum of war is influenced by, and reflects, an international rise in Holocaust consciousness in the 1990s. This book considers th...
This handbook is the most comprehensive and up-to-date single volume on the history and memory of the Holocaust in Britain. It traces the complex relationship between Britain and the destruction of Europe’s Jews, from societal and political responses to persecution in the 1930s, through formal reactions to war and genocide, to works of representation and remembrance in post-war Britain. Through this process the handbook not only updates existing historiography of Britain and the Holocaust; it also adds new dimensions to our understanding by exploring the constant interface and interplay of history and memory. The chapters bring together internationally renowned academics and talented young...
This book presents a selection of the newest research on themes amplified by the sixth annual Beyond Camps and Forced Labour conference on the post-Holocaust period, including ‘displaced persons’, reception and resettlement, exiles and refugees, trials and justice, reparation and restitution, and memory and testimony. The chapters highlight new, transnational approaches and findings based on underused and newly opened archives, including compensation files of the British government; on historical actors often on the periphery within English-language historiography, including Romanian and Hungarian survivors; and new approaches such as the spatial history of Drancy, as well as geographies that have undergone less scrutiny, for example, Tehran, Chile, Mexico and Cyprus. This volume represents the vibrant and varied state of research on the aftermath of the Holocaust.
This volume contains thirteen selected papers from the seventh international 'Beyond Camps and Forced Labour conference', held in London in January 2023. The geographical and methodological scope of the chapters, ranging from postwar trials to survivors’ memoirs and former classmates’ letters, from Greece to the Soviet Union, France to Croatia, indicates both the range encompassed by Holocaust Studies’ focus on the immediate postwar period and the expansion and flourishing of the discipline. The book examines the experiences of forced labourers, postwar struggles to obtain restitution for stolen property, the political and cultural activities of displaced persons, trials of perpetrator...
The Holocaust is a pervasive presence in British culture and society. Schools have been legally required to deliver Holocaust education, the government helps to fund student visits to Auschwitz, the Imperial War Museum's permanent Holocaust Exhibition has attracted millions of visitors, and Britain has an annually commemorated Holocaust Memorial Day. What has prompted this development, how has it unfolded, and why has it happened now? How does it relate to Britain's post-war history, its contemporary concerns, and the wider "globalisation" of Holocaust memory? What are the multiple shapes that British Holocaust consciousness assumes and the consequences of their rapid emergence? Why have the so-called "lessons" of the Holocaust enjoyed such popularity in Britain? Through analysis of changing engagements with the Holocaust in political, cultural and memorial landscapes over the past generation, this book addresses these questions, demonstrating the complexities of Holocaust consciousness and reflecting on the contrasting ways that history is used in Britain today.
The first book to pair the story of a Holocaust victim with that of a liberator, All the Horrors of War compels readers to consider the full, complex humanity of both.
Today more than ever before, the historical witness is now a “museum objectâ€_x009d_ in the form of video interviews with individuals remembering events of historical importance. Such video testimonies now not only are part of the collections and research activities of museums, but become deeply intertwined with narrative and exhibit design. With a focus on Holocaust museums, this study scrutinizes for the first time this new global process of “musealisationâ€_x009d_ of testimony, exploring the processes, prerequisites, and consequences of the transformation of video testimonies into exhibits.