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Titlebook: Memories of Resistance and the Holocaust on Film; Mercedes Camino Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 history.H

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發(fā)表于 2025-3-21 18:15:48 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Memories of Resistance and the Holocaust on Film
編輯Mercedes Camino
視頻videohttp://file.papertrans.cn/631/630452/630452.mp4
概述Elaborates a cultural history of the Holocaust and resistance in WWII.Offers an original treatment of films as historical sources (both primary and secondary).Investigates WWII as a civil war through
圖書封面Titlebook: Memories of Resistance and the Holocaust on Film;  Mercedes Camino Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 history.H
描述This book investigates cinematic representations of the murder of European Jews and civilian opposition to Nazi occupation from the war up until the twenty-first century. The study exposes a chronology of the conflict’s memorialization whose geo-political alignments are demarcated by vectors of time and space—or ‘chronotopes’, using Mikhail Bakhtin’s term. Camino shows such chronotopes to be first defined by the main allies; the USA, USSR and UK; and then subsequently expanding from the geographical and political centres of the occupation; France, the USSR and Poland. Films from Western and Eastern Europe and the USA are treated as primary and secondary sources of the conflict. These sources contribute to a sentient or emotional history that privileges affect and construct what Michel Foucault labels biopolitics. These cinematic narratives, which are often based on memoirs of resistance fighters like Joseph Kessel or Holocaust survivors such as Primo Levi and Wanda Jakubowska, evoke the past in what Marianne Hirsch has described as ‘post-memory’..
出版日期Book 2018
關鍵詞history; Holocaust; resistance; World War II; Jews; Cinema
版次1
doihttps://doi.org/10.1057/978-1-137-49969-1
isbn_ebook978-1-137-49969-1
copyrightThe Editor(s) (if applicable) and The Author(s) 2018
The information of publication is updating

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沙發(fā)
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,The Partisan (1943–74), configuring an idiosyncratic cinematic genre, Partizanski Films, about their real and imaginary deeds. Films dealing with resistance in the USSR provided a platform from which notions of heroism were challenged, offering outlets for unfinished mourning, as in Andrei Tarkovsky’s . (1962). Larisa Shepitko’s . (1977) and Elem Klimov’s . (1985).
7#
發(fā)表于 2025-3-22 18:07:17 | 只看該作者
,The Collaborator (1969–74),s . (1974) and Joseph Losey’s . (., 1976). These films make use of Hannah Arendt’s ‘banality of evil’ and Brechtian distance to cast these liminal historical actors in order to challenge moral binaries and the mythology of heroic, national resistance.
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發(fā)表于 2025-3-22 22:25:55 | 只看該作者
,Holocaust Testimony: Survivors, Ghosts and Revenants (1947–2002),f Holocaust films were produced in the Eastern Bloc, and include Wanda Jakubowska’s .?(1947), and Ján Kadár and Elmer Klos’ .?(1965). The trend had faded away by the time that the paradigmatic survivor film, Roman Polanski’s . (2002), was released.
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發(fā)表于 2025-3-23 01:48:38 | 只看該作者
,The Jewish Resister (1987–2015), their historical vindication. This transformation was consolidated by the time that Jon Avnet directed a television production about the last months of the Warsaw Ghetto, . (2001), and culminates in Edward Zwick’s adaptation of the struggle of the Bielski’s partisans in Soviet Belarus, . (2008).
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