Titlebook: Cinematic Intermedialities and Contemporary Holocaust Memory; Victoria Grace Walden Book 2019 The Editor(s) (if applicable) and The Author

Obliterate

Petr I. Ospishchev,Maja Andjelkovicsted in the ways material presence highlights absence and virtuality through the use of the digital. In relation to ., I also challenge the assumption that repetition prevents memory (as many trauma theorists, Holocaust historians and Deleuze, have claimed). I explore the ways in which repetition ar

分發(fā)

Qisheng Pan,Harry W. Richardson what it might be like to have violence enacted upon us. After this brief summary of the book’s ideas, I focus on two installations and an augmented reality app recently developed at the Bergen-Belsen Memorial (.) in Germany to consider how recent developments in screen memory might be moving toward

Junction

Holocaust Film Beyond Representation,ion of Holocaust memory. In the final section of the chapter, I then explain how we might think about Holocaust memory as something that can be produced by working through several ideas that have shaped recent developments in memory studies.

acrophobia

The Archive, Assemblage and Archaeology,ive materials to perpetuate memory of the Holocaust. My discussion of . particularly highlights the archaeological nature of the film and how its desire to disrupt any previous meaning related to perpetrator-commissioned images can be a powerful tool for memory.

modifier

音樂會(huì)

Digital Augmentation, Assemblage, the Actual and the Virtual,sted in the ways material presence highlights absence and virtuality through the use of the digital. In relation to ., I also challenge the assumption that repetition prevents memory (as many trauma theorists, Holocaust historians and Deleuze, have claimed). I explore the ways in which repetition ar

吃掉

ABYSS

Holocaust Film Beyond Representation,cular type of cinematic experience. Here, I explore what is at stake when we decide to look beyond representation and attend to the inbetweens that characterise intermedial cinematic experiences that confront the Holocaust through a review of Alain Resnais’s . (. 1956). This chapter starts by positi

Panther

The Archive, Assemblage and Archaeology,nterrogate and manipulate, archive footage. It explores what emerges when celluloid archive footage and video or digital are juxtaposed together in . (Péter Forgács, 1996) and . (Yael Hersonski, 2010) respectively. It considers what happens when past and contemporary media and images come into conta

健談

Animation, Assemblage, the Affection-Form,oth within the films, and through the spectator’s engagement with the film. I am interested in the ways tangible, yet nonorganic lines, marks and things can encourage the contemporary spectator to feel affects such as trauma and destruction related to the very human experience of the Holocaust witho