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New Israeli Horror
Before 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw)
Archive and Memory in German Literature and Visual Culture
Explores the changing relationship between memory and the archive in German-language literature and culture since 1945.
60 Years and Bon Vivant!
The book includes engaging articles on how France influenced Philippine life.
The Auschwitz Sonderkommando
This book is the first to bring together analyses of the full range of post-war testimony given by survivors of the Sonderkommando of Auschwitz-Birkenau. The Auschwitz Sonderkommando were slave labourers in the gas chambers and crematoria, forced to process and dispose of the bodies of those who were murdered. They have been central to a number of key topics in post-war debates about the Shoah: collaboration, moral compromise and survival, resistance, representation, and the possibility of bearing witness. Their testimony however has mostly met with a reluctance to engage in depth with it. Moving from testimonies produced within the event, the Scrolls of Auschwitz and the Sonderkommando photographs, to testimonies given at trials and for video archives, and to the paintings of David Olère and the film Shoah by Claude Lanzmann, this book demonstrates the importance of their witnessing in the post-war memory of the Holocaust, and provides vital new insights into the questions of representation, memory, gender, and the Shoah.
Agents of Liberation
The book explores representations of the Holocaust in contemporary art practices. Through carefully selected art projects, the author illuminates the specific historical, cultural, and political circumstances that influence the way we speak?or do not speak?about the Holocaust. The book?s international focus brings into view film projects made by key artists reflecting critically upon forms of Holocaust memory in a variety of geographical contexts. K‚kesi connects the ethical implications of the memory of the Holocaust with a critical analysis of contemporary societies, focusing upon artists who are deeply engaged in doing both of the above within three regions: Eastern Europe (especially Poland), Germany, and Israel. The case studies apply current methods of contemporary art theory, unfolding their implications in terms of memory politics and social critique.
Life Beyond the Holocaust
“For the rare Jews of Poland who managed to survive the Holocaust, the very idea of a return to what had been one’s homeland might seem both physically and psychologically impossible, perhaps even absurd. Yet it is precisely this paradoxical journey that Mira Kimmelman undertakes with great dignity and generosity. In words that are both direct and intimate, she exposes the ambivalence of what it means to learn to live again after Auschwitz—to experience love, raise a family, and assume a steadfast place in the Jewish community of a new land. At the same time, she acknowledges the abyss of losses that can never be retrieved. Perhaps even more importantly, Mira reveals how the pain of a ...
Agents of Liberations
The book explores representations of the Holocaust in contemporary art practices. Through carefully selected art projects, the author illuminates the specific historical, cultural, and political circumstances that influence the way we speak—or do not speak—about the Holocaust. The book's international focus brings into view film projects made by key artists reflecting critically upon forms of Holocaust memory in a variety of geographical contexts. Kékesi connects the ethical implications of the memory of the Holocaust with a critical analysis of contemporary societies, focusing upon artists who are deeply engaged in doing both of the above within three regions: Eastern Europe (especially Poland), Germany, and Israel. The case studies apply current methods of contemporary art theory, unfolding their implications in terms of memory politics and social critique.
On Not Looking
On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of images—photographs, films, videos, press images, digital images, paintings, sculptures, and drawings—from everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.
Narrative Mourning
Narrative Mourning argues that the cultural disappearance of the dead/dying body in eighteenth-century Britain found expression in fictional representations of the relic (object) or relict (person) within certain British novels. These relics/relicts exist as material signs of loss and as compensation for loss; they exist as surrogates for the absent (living, dead, or dying) and as reliquaries for their "psychic" essences.
