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In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human. This book shows how the unacknowledged legacy of a totalitarian mentality has seeped into the deepest recesses of everyday popular culture. It asks if the concentrationary now infests our cultural imaginary, normalizing what was once considered horrific and exceptional by transforming into entertainment violations of human life.
In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human. This book shows how the unacknowledged legacy of a totalitarian mentality has seeped into the deepest recesses of everyday popular culture. It asks if the concentrationary now infests our cultural imaginary, normalizing what was once considered horrific and exceptional by transforming into entertainment violations of human life.
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.
Inhaltsangabe
Concentrationary Memories Series Preface Griselda Pollock & Max Silverman Table of Contents List of Illustrations Acknowledgements Introduction The Politics of Memory: From Concentrationary Memory to Concentrationary Memories Griselda Pollock & Max Silverman: Part 1: Theorising the Political Space and Beyond Chapter 1 The Memory of Politics: Hannah Arendt, Carl Schmitt and the Possibility of Encounter John Wolfe Ackerman Part 2: Mediations of Memory Chapter 2 Migration and Motif: the (Parapractic) Memories of an Image Thomas Elsaesser Chapter 3 The Two Stages of the Eichmann Trial Sylvie Lindeperg & Annette Wieviorka Chapter 4 Brushing the Film Against the Grain: Locating Jean Cayrol's Lazarean Figure in Alain Resnais's Muriel ou le temps d'un retour Matthew John Part 3: Camp Visions Chapter 5 Symbol Re-formation: Concentrationary Memory in Charlotte Delbo's Auschwitz and After Nicholas Chare Chapter 6 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 Chapter 7 Muselmann: a distilled image of the Lager? Glenn Sujo Chapter 8 Nameless before the Concentrationary Void: Charlotte Salomon's Leben? oder Theater? 1941-42 after Gurs Griselda Pollock Part 4: Beyond the Limits Chapter 9 Animated Memory: Ari Folman's Waltz with Bashir Claire Launchbury Chapter 10 Isn't this where.? Projections on Pink Floyd The Wall: Tracing the Concentrationary Image Benjamin Hannavy Cousen Chapter 11 Memory Work in Argentina 1976-2006 Laura Malosetti Costa Notes on Contributors Bibliography Index
Concentrationary Memories Series Preface Griselda Pollock & Max Silverman Table of Contents List of Illustrations Acknowledgements Introduction The Politics of Memory: From Concentrationary Memory to Concentrationary Memories Griselda Pollock & Max Silverman: Part 1: Theorising the Political Space and Beyond Chapter 1 The Memory of Politics: Hannah Arendt, Carl Schmitt and the Possibility of Encounter John Wolfe Ackerman Part 2: Mediations of Memory Chapter 2 Migration and Motif: the (Parapractic) Memories of an Image Thomas Elsaesser Chapter 3 The Two Stages of the Eichmann Trial Sylvie Lindeperg & Annette Wieviorka Chapter 4 Brushing the Film Against the Grain: Locating Jean Cayrol's Lazarean Figure in Alain Resnais's Muriel ou le temps d'un retour Matthew John Part 3: Camp Visions Chapter 5 Symbol Re-formation: Concentrationary Memory in Charlotte Delbo's Auschwitz and After Nicholas Chare Chapter 6 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 Chapter 7 Muselmann: a distilled image of the Lager? Glenn Sujo Chapter 8 Nameless before the Concentrationary Void: Charlotte Salomon's Leben? oder Theater? 1941-42 after Gurs Griselda Pollock Part 4: Beyond the Limits Chapter 9 Animated Memory: Ari Folman's Waltz with Bashir Claire Launchbury Chapter 10 Isn't this where.? Projections on Pink Floyd The Wall: Tracing the Concentrationary Image Benjamin Hannavy Cousen Chapter 11 Memory Work in Argentina 1976-2006 Laura Malosetti Costa Notes on Contributors Bibliography Index
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