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the Holocaust

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Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
...Szidonia Haragos Abstract László Nemes's 2015 production, Son of Saul ( Saul fia ), is one of the most critically acclaimed Holocaust movies to date. The film disrupts canonical notions of visual representation of the special squads of Jewish inmates, or Sonderkommando, forced to work...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
..., attached on one side to the legacy of the Holocaust and on the other to the Israeli occupation, proves a highly relevant case for probing the limits of both types of traumas. Taking as a point of departure the distinction between testimony given by the victim and confession made by the perpetrator...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 113–137.
Published: 01 May 2019
... York or from hotel rooms around the world. In these purposefully dedramatized spaces “nothing happens”— nothing, that is, but a series of profound and moving encounters between Akerman and her mother, Natalia (Nelly), a survivor of Auschwitz whose family was murdered in the Holocaust. Bracha Ettinger’s...
Journal Article
Camera Obscura (2019) 34 (1 (100)): 75–89.
Published: 01 May 2019
.... The format is derived from writer Georges Perec, and the essay connects these artists through their experiences as Holocaust survivors or children of survivors. Touching on Akerman’s Jewish heritage, her early success with the film Jeanne Dielman: 23 quai du Commerce, 1080 Bruxelles (Belgium/France, 1975...
Journal Article
Camera Obscura (2019) 34 (2): 103–131.
Published: 01 September 2019
... not a revolutionary in the tradition of Luxemburg, the German-Jewish political thinker Arendt is an interesting choice for a left-leaning, post-Holocaust German woman director. Yet Arendt presents a paradox for feminists due to the contradictions embedded in her works and public pronouncements. The article examines...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... Exploring National Injuries Israeli society has defined itself in relation to the trauma of the Holocaust. The Israeli nation has seen itself, and continues to see itself, as a trauma community, or “victim-community.”1 Through the unifying memory of the catastrophe of the Holocaust...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... presents national problems. Like Made in Israel (dir. Ari Folman, Israel, 2001), it tells of an attempt to assassinate a Nazi criminal; like Metallic Blues (dir. Dan Verete, Canada/Germany/Israel, 2004), it deals with a second-generation Israeli Holocaust survivor visiting Germany...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
.../ France/Poland, 1990). Based on the autobiography of Salomon Perel, the film traces the succession of masquerades assumed by the hero in order to survive the Holocaust. In so doing, the film delineates the epistemological space of the Jewish closet and reveals its structural affinities with the gay...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
... transcendental mode by reading first a recent film by Atom Egoyan and then, in more detail, Todd Haynes’sVelvet Goldmine. Haynes’s film is per- haps most useful in relation to the discourse of trauma precisely because of its lack of intuitive connection: rather than represent- ing the Holocaust or another...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... that his parents, Eastern European Holocaust survivors who relocated to France after the war, embodied Yid- dishkeit ( Jewishness) for him, and with their bodies so would go Yiddishkeit. The bridge between the thriving prewar Jewish cul- Copyright © 2003 by Camera Obscura Camera Obscura 52...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
... to former Yugoslavia) sug- gests cinema s constitutive role in Cambodia. Most importantly, the interview- based encounter between first- generation survi- vors and (both high- and low- ranking) perpetrators mediated through cinema, a unique phenomenon in post- Holocaust world cinema, transforms both...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 129–167.
Published: 01 December 2007
... hegemonic practices (e.g., the Holocaust, slavery, colo- nialism, or even assimilation). The transformations of those views, beliefs, and practices may at times be powerfully subversive and generative of new understandings. Strategic nostalgia may suggest alternatives or even authorize a shift...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 240.
Published: 01 January 1996
.... Routledge, 1997. $16.95. Spielberg's Holocaust: Critical Perspectives on "Schindler's List" edited by Yosefa Loshitzky. Indiana University Press, 1997. $17.95. Dancing in Spite ofMyself: Essays on Popular Culture by Lawrence Grossberg. Duke University Press, 1997. $16.95...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 170–171.
Published: 01 September 2004
...: New York University Press, 2004. Higley, Sarah L., and Jeffrey Andrew Weinstock, eds. Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Detroit, MI: Wayne State University Press, 2004. Hirsch, Joshua. After Image: Film, Trauma, and the Holocaust. Philadelphia...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 99–141.
Published: 01 May 2001
... to revisionist ideas about German history and the Holocaust that right-wing West German historians had expounded during the famous Historikerstreit (historians’ debate) of the 1980s. I witnessed the controversy over the film in one of its early...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 124–154.
Published: 01 January 1996
...: This is not to suggest that the incidence of the Holocaust was deter- mined by modern bureaucracy or the culture of instrumental rational- ity it epitomizes, much less still, that modern bureaucracy must result in Holocaust-style phenomena. I do suggest, however...
Journal Article
Camera Obscura (2002) 17 (2 (50)): 69–107.
Published: 01 September 2002
... at the hands of the parental gen- eration that has created them. Not surprisingly, within its first minute the film depicts an infanticidal holocaust. The film opens with an ominous, rever- berating bass chord, repeated in two or three different keys, as the camera first shows an aerial view...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 166–168.
Published: 01 December 1984
.... Indelible Shadows: Fdm and the Holocaust by Annette Insdorf. Random House. New York, 1983. Walt Atts Journal. California Institute of the Arts. Valencia, 1983. Napoleon: Abel Gance's Cfassic Fdm by Kevin Brownlow. Jonathan Cape Ltd. London, 1983. HollywoodRed: The Autobiography ofLester Cole...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 226–242.
Published: 01 May 1997
..., the symbolic pairing of nukes and dinosaurs is, in fact, “just perfect” to contain the ungraspable threat of radiation and nuclear holocaust. One way the film achieves this is by preceding many of the sightings of the dinosaur with a clicking Geiger counter-like sound, effecting an aural to visual...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... and traumatic war situations. Scholars thinking about the Holocaust, for example, often produce the genocide as an instructive, if aberrational, event in human history.4 As Giorgio Agamben writes, “The aporia of Auschwitz is, indeed, the very apo- ria of historical knowledge: a non-­coincidence between...