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Remaking Holocaust Memory : Documentary Cinema by Third-Generation Survivors in Israel.
・ISBN 978-0-8156-3632-8 cloth US$ 70.00
￥16,401.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
・ISBN 978-0-8156-3650-2 paper US$ 34.95
￥8,188.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Steir-Livny, Liat, |
|---|---|
| 出版社 | (Syracuse U. Pr., US) |
| 出版年月 | 2019 |
| ページ数 | 376 pp. |
| 言語 | ENG |
| ニュース番号 | ＜650-L1970 650-L2406＞ |
解説
Since the late 1990s in Israel, third-generation Holocaust survivors have become the new custodians of cultural memory, and the documentary films they produce play a major role in shaping a societal consensus of commemoration. In Remaking Holocaust Memory, a pioneering analysis of third-generation Holocaust documentaries in Israel, Steir-Livny investigates compelling films that have been screened in Israel, Europe, and the United States, appeared in numerous international film festivals, and won international awards, but have yet to receive significant academic attention.
Steir-Livny's comprehensive investigation reveals how the ""absolute truths"" that appeared in the majority of second-generation films are deconstructed and disputed in the newer films, which do not dismiss their ""cinematic parents' "" approach but rather rethink fixed notions, extend the debates, and pose questions where previously there had been exclamation marks. Steir-Livny also explores the ways in which the third-generation's perspectives on Holocaust memory govern cinematic trends and aesthetic choices, and how these might impact the moral recollection of the past.
Finally, Remaking Holocaust Memory serves as an excellent reference tool, as it helpfully lists all of the second- and third-generation films available, as well as the festival screenings and awards they have garnered.
Steir-Livny's comprehensive investigation reveals how the ""absolute truths"" that appeared in the majority of second-generation films are deconstructed and disputed in the newer films, which do not dismiss their ""cinematic parents' "" approach but rather rethink fixed notions, extend the debates, and pose questions where previously there had been exclamation marks. Steir-Livny also explores the ways in which the third-generation's perspectives on Holocaust memory govern cinematic trends and aesthetic choices, and how these might impact the moral recollection of the past.
Finally, Remaking Holocaust Memory serves as an excellent reference tool, as it helpfully lists all of the second- and third-generation films available, as well as the festival screenings and awards they have garnered.