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Full Description
Aiming to understand the ways in which depictions of the Nazi genocide relate to the societies that produce them, Holocaust Cinema Since 2000 combines detailed analyses of films such as The Unknown Soldier (2006), Waltz with Bashir (2008), and Inglourious Basterds (2009) with a comprehensive understanding of political events in Israel, Germany, and the US, to explore the relationship between post-2000 Holocaust Cinema and formations of national identity.
Despite continued concerns about the aesthetic choices used to represent the crimes committed by the Third Reich, and, more specifically, how this informs the cultural memory of these events, the production of Holocaust films has increased exponentially since the end of the Second World War. Gary Jenkins demonstrates that, in their challenging of the dominant values that underpin such formations, a number of recent Holocaust films reveal a crisis in collective identity in these three countries.
Contents
Introduction - Rethinking Holocaust Cinema
1. Nationalist Concerns: Pre-2000 Cinematic Encounters with the Holocaust
I: Challenging the Ashkenazi: National Identity in Israeli Film
2. Impositions of Memory: Foregrounding Israel's Ethnic 'Other' in Waltz with Bashir
3. Traumatic Vestiges: Israel's Holocaust Legacy in Walk on Water and Forgiveness
II: Perpetrator/Victim: Pluralising the Wartime Experience in Recent German Documentary Film
4. The Persistence of Victimhood? The German as Victim in Blind Spot: Hitler's Secretary and The Red Orchestra
5. The Wehrmacht as a Battleground: The Contested Past in The Unknown Soldier
III: Escape to History? The Jewish Revenge Film in Post-9/11 America
6. Jewish Resistance/Revenge: The Grey Zone and Defiance
7. Who's Revenge is it Anyway? Inglorious Basterds and America's War on Terror
Conclusion
Filmography
Bibliography
Index
