A brilliant line-up of international contributors examine the implications of the portrayals of Nazis in low-brow culture and that culture's re-emergence today
The Holocaust holds a unique place in American public culture, and, as Jeffrey Shandler argues in While America Watches, it is television, more than any other medium, that has brought the Holocaust into our homes, our hearts, and our minds. Much has been written about Holocaust film and literature, and yet the medium that brings the subject to most people--television--has been largely neglected. Now Shandler provides the first account of how television has familiarized the American people with the Holocaust. He starts with wartime newsreels of liberated concentration camps, showing how they set the moral tone for viewing scenes of genocide, and then moves to television to explain how the Holocaust and the Holocaust survivor have gained stature as moral symbols in American culture. From early teleplays to coverage of the Eichmann trial and the Holocaust miniseries, as well as documentaries, popular series such as All in the Family and Star Trek, and news reports of recent interethnic violence in Bosnia, Shandler offers an enlightening tour of television history. Shandler also examines the many controversies that televised presentations of the Holocaust have sparked, demonstrating how their impact extends well beyond the broadcasts themselves. While America Watches is sure to continue this discussion--and possibly the controversies--among many readers.
Fascism and sadomasochism: the origins of an erotics -- The libidinal politics of D.H. Lawrence's "leadership novels" -- The surreal swastikas of Georges Bataille and Hans Bellemer -- Beauty and the Boche: propaganda and the sexualized enemy in Vercors's Silence of the sea -- Horizontal treason: Jean Genet's Funeral rites -- "Every woman adores a fascist": Marguerite Duras, Sylvia Plath, and feminist visions of fascism -- "This cellar of the present."
Chronicles the phenomenal rise of video culture and its alleged associations with criminal activity, Containing studies of murder cases supposedly influenced by films, interviews with the video underground producers, and insightful commentary on contentious movies, See No Evil is an exhaustive and startling overview of Britain's video nasty culture. The eagerly awaited follow up to the best selling Killing for Culture.
Holocaust as Fiction seeks to explain and critically evaluate the extraordinary success of Schlink's internationally acclaimed novel, The Reader , the widely read "Selb" detective trilogy, and two popular films based closely on his work.
Why are representations of Nazism - which are often used to depict the ultimate expression of human evil - so entrenched in our culture? This book examines this multifaceted topic from different angles, highlighting the different incidences of Nazistic representations in the post-1945 period.
They sold sin and sensation with the magic words "Uncut! Uncensored! Adults Only!" and the most happily shameless of them all was David F. Friedman, the emperor of "exploitation" films. Friedman perfected the fine art of sleaze and delightfully admits that he has hurled more garbage at the public than anyone else before or since. This book is as much his story as it is the history of an idea that in recent times has enjoyed a remarkable rebirth. Friedman writes with gusto of the glory days when there were taboos to be broken and untold amounts of money to be made. He fondly remembers his cinematic forebears, who sold titillation under the guise of moral instruction. Friedman brought the genre to new highs (and lows), producing such films as She Freak, Blood Feast, The Defilers, Scum of the Earth, Space Thing, Color Me Blood Red, and the classic Two Thousand Maniacs. Whether sexy, gory, or merely shocking, these films played for years to packed theaters and drive-ins. Though Friedman is considered a folk-hero of the sexual revolution, it was when the "adults only" business lost its uncertain innocence and the movies really began to get dirty that he lost all interest. Hardcore porn - ritualized, explicit, and deadly serious - pulled the rug out from under the adult-film industry and, according to Friedman, ended the fun. For Friedman really did have fun - never more than when he was perpetrating a con or flying in the face of convention. This book captures the core of basic integrity, the wicked sense of humor, and the unerring sense of showmanship of this American original. A Youth in Babylon is the definitive book on the history of American "exploitation" films and a unique contribution to motion picture history.