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Concentrationary Memories: Totalitarian Terror and Cultural Resistance

Concentrationary Memories: Totalitarian Terror and Cultural Resistance

Edited by: Griselda Pollock, Max Silvermann

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Concentrationary Memories is based in the idea that the concentrationary plague unleashed on the world by the Nazis in the 1930s and 1940s has remained and is now a permanent presence shadowing modern life. It also argues that memory - and, indeed, art in general - must be invoked to show this haunting of the present by this menacing past so that we can read for the signs of terror and counter its deformation of the human. The book presents political and cultural readings of film, art, photographic and literary practices, which analyses different cultural responses to concentrationary terror in the post-war period, ranging from Auschwitz to Argentina. Using multiple images, contributors including Nicholas Chare, Isabelle de le Court, Thomas Elsaesser, Benjamin Hannavy-Cousen, Claire Launchbury, Sylvie Lindeperg, Laura Malosetti Costa, Griselda Pollock, Annette Wiewiorka, and John Wolfe Akerman show how those involved in the cultural production of memories of the horror of totalitarianism sought to find forms, languages and image systems that could make sense of and resist the post-war condition in which, as Hannah Arendt famously stated, 'everything is possible' and 'human beings as human beings become superfluous'.

Table of Contents

The Politics of Memory: From Concentrationary Memory to Concentrationary Memories
Griselda Pollock and Max Silverman

Part 1: Theorizing the Political Space and Beyond

The Memory of Politics: Hannah Arendt, Carl Schmitt and the Possibility of Encounter
John Wolfe Ackerman

Part 2: Meditations of Memory

Migration and Motif: The (Parapractic) Memories of an Image
Thomas Elsaesser

The Two Stages of the Eichmann Trial
Sylvie Lindeperg and Annette Wieviorka

Running the Film against the Reel: Locating Jean Cayrol’s Lazarean Figure in Alain Resnais’s Muriel ou le temps d’un retour
Matthew John

Part 3: Camp Visions

Symbol Re-formation: Concentrationary Memory in Charlotte Delbo’s Auschwitz and After
Nicholas Chare

A New Visual Structure for the Unthinkable: The Surrealist Aesthetic and the Concentrationary Sublime in Lee Miller’s Photographs of Buchenwald and Dachau
Isabelle de le Court

Muselmann: A Distilled Image of the Lager?
Glenn Sujo

Nameless before the Concentrationary Void: Charlotte Salomon’s Leben? Oder Theater? 1941–42 ‘After Gurs’
Griselda Pollock

Part 4: Beyond the Limits

Animating Memory: Ari Folman’s Waltz with Bashir
Claire Launchbury

Isn’t this Where …?: Projections on Pink Floyd The Wall: Tracing the Concentrationary Image
Benjamin Hannavy Cousen

Memory Work in Argentina 1976–2006
Laura Malosetti Costa

Author Info

Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds, UK. She is Editor, with Anthony Bryant, of "Digital and Other Virtualities: Renegotiating the Image" and of "Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures" (both I.B. Tauris) and is Series Editor of Tauris' "New Encounters" Series. Max Silverman is Professor of Modern French Studies at the University of Leeds. His recent publications include "Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film" (Berghahn, 2013). Griselda Pollock and Max Silverman are joint authors of "Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', " which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011.

Bibliographic Info

Imprint: I.B.Tauris
Publisher: I.B.Tauris & Co. Ltd.

ISBN: 9781780768960
Publication Date: 18 Dec 2013
Number of Pages: 320
Height: 234
Width: 156
Illustrations: 88 black white integrated

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