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Books on the topic 'Shoah – film'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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1

Shoah. London: Palgrave Macmillan on behalf of the British Film Institute, 2011.

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2

Alterman, Aline. Visages de Shoah: Le film de Claude Lanzmann. Paris, France: Cerf, 2006.

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3

Lanzmann, Claude. Shoah. [Hollywood, CA]: Paramount Video, 1985.

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4

Lichtner, Giacomo. Film and the Shoah in France and Italy. London: Vallentine Mitchell, 2008.

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5

Shoah. [Paris]: Fayard, 1985.

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6

Shoah. Sarajevo: Medjunarodni teatarski i filmski festival MES Sarajevo, 1996.

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7

Shoah: The complete text of the acclaimed Holocaust film. New York: DaCapo Press, 1995.

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8

Visages de la Shoah: Le film de Claude Lanzmann. Paris: Cerf, 2006.

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9

Bernard, Cuau, ed. Au sujet de Shoah: Le film de Claude Lanzmann. [Paris]: Belin, 1990.

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10

Kramer, Sven. Auschwitz im Widerstreit: Zur Darstellung der Shoah in Film, Philosophie und Literatur. Wiesbaden: Deutscher Universitäts-Verlag, 1999.

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11

Shoah: An oral history of the Holocaust : the complete text of the film. New York: Pantheon Books, 1985.

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12

Schmoller, Andreas. Vergangenheit, die nicht vergeht: Das Gedächtnis der Shoah in Frankreich seit 1945 im Medium Film. Innsbruck: Studien Verlag, 2010.

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13

Cinquegrani, Alessandro, Francesca Pangallo, and Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.

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Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.
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14

Corell, Catrin. Der Holocaust als Herausforderung für den Film: Formen des filmischen Umgangs mit der Shoah seit 1945. Eine Wirkungstypologie. Bielefeld: transcript Verlag, 2009.

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15

Le lièvre de Patagonie. [Paris]: Gallimard, 2010.

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16

Reza Pahalvi: Le fils du shah de l'exil a la reconquete. Paris: Librairie Plon, 1986.

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17

Malar, Christian. Reza Pahlavi, le fils du Shah, de l'exil à la reconquête. Paris: Plon, 1986.

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18

Markiewicz, Jacques. Tu vivras mon fils: Le destin exceptionnel d'un adolescent juif polonais pour survivre à la Shoah. Paris: Harmattan, 2005.

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19

The Holocaust on trial. New York, USA: Norton, 2001.

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20

Guttenplan, D. D. The Holocaust on trial: History, justice and the David Irving libel case. London: Granta, 2001.

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21

Guttenplan, D. D. The Holocaust on trial: History, justice, and the David Irving libel case. London: Granta, 2002.

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22

Shoah, le film: Des psychanalystes écrivent. Paris: J. Grancher, 1990.

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23

de Beauvoir, Simone, and Michael Artime. Preface to Shoah. Translated by Marybeth Timmermann. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036941.003.0020.

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Shoah is not an easy film to talk about.1 There is magic in this film, and magic can not be explained. After the war, we read so many testimonies about the ghettos and the extermination camps, and were shaken by them. But today, when we watch this extraordinary film by Claude Lanzmann, we see that we have understood nothing....
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24

Lichtner, Giacomo, and Richard Bosworth. Film and the Shoah in France and Italy. Vallentine Mitchell Publishers, 2008.

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25

Lanzmann, Claude. Shoah. McClelland & Stewart, 1999.

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26

Lanzmann, Claude. Shoah. European Schoolbooks, 1997.

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27

Lanzmann, Claude. Shoah. Rowohlt Taschenbuch, 2011.

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28

Lanzmann, Claude. Shoah: The Complete Text of the Acclaimed Holocaust Film. Da Capo Press, 1995.

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29

Lanzmann, Claude. Au sujet de Shoah: Le film de Claude Lanzmann. BELIN, 2011.

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30

France Film And The Holocaust From Gnocide To Shoah. Palgrave MacMillan, 2012.

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31

1947-, Spielberg Steven, Film Education, and Survivors of the Shoah Visual History Foundation., eds. Steven Spielberg and the Shoah Foundation present 'The last days': Film Education study guide. Los Angeles: Film Education and the Spiro Institute in association with Survivors of the Shoah Visual History Foundation, 1999.

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32

Klien, Hanna. All Eyes on Shah Rukh!: An Intercultural Approach to the Gaze in Karan Johar's Films. Lit Verlag, 2013.

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33

King of Bollywood: Shah Rukh Khan and the Seductive World of Indian Cinema. Grand Central Publishing, 2007.

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34

Talbot, Ian, and Tahir Kamran. Darvarzas and Mohallas. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190642938.003.0003.

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The chapter focuses on Lahore’s famous darvarzas (gateways) and mohallas (residential localities). It provides a fine grain analysis of the cultural and commercial life that took place in these surrounding areas. The inner city has been traditionally understood as a closed in area, but the chapter argues that this stereotype neglects the regional and trans-national linkages and circulation of goods and people. The three case studies of Bhati Gate, Shah Almi Gate and Mochi Gate illustrate the interconnectedness arising from commercial, cultural and political exchanges. The chapter concludes with a description both of the importance of the Mochi Gate area for training of classical musicians in Haveli Mian Khan and the musical soirees of Takia Mirasian and of Bhati Gate’s connections with the early film industry. All-India Radio Lahore which broadcast from December 1937 also provided a creative outlet for the musicians, writers and actors of Bhati and Mochi Gates and drew artists to the city.
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35

Margulies, Ivone. In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.001.0001.

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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.
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36

Holocaust on Trial. Norton & Company, Incorporated, W. W., 2002.

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37

Guttenplan, D. D. Holocaust on Trial. Norton & Company, Incorporated, W. W., 2002.

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