Dealing with the post-war menace: Creating transnational film memories in the shadow of the Holocaust.
Traditional scholarship in social film history views groups of films from a certain time period as encapsulations of the overriding national mindset of that time. However, film scholarship has challenged this notion of what sociologists term 'collective memory', insisting instead that a wider range...
| Published in: | Journal of European Popular Culture Vol. 14; no. 2; pp. 143 - 156 |
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| Format: | Article |
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Intellect Ltd.
Oct2023
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=175527752&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 175527752 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20406134 90BD jtl: Journal of European Popular Culture issn: 20406134 maglogo: N pubinfo: dt: Oct2023 vid: 14 iid: 2 pid: 12270 pub: Intellect Ltd. artinfo: ui: 175527752 10.1386/jepc_00060_1 ppf: 143 ppct: 13 formats: fmt: – @attributes: type: T – @attributes: type: P size: 717KB tig: atl: Dealing with the post-war menace: Creating transnational film memories in the shadow of the Holocaust. aug: au: Mead, Bryan affil: East Texas Baptist University su: When They Call You a Terrorist: A Black Lives Matter Memoir (Book) Holocaust, 1939-1945 Collective memory Holocaust memorials Welles, Orson, 1915-1985 Motion picture theaters Social history Memory World War II sug: subj: When They Call You a Terrorist: A Black Lives Matter Memoir (Book) Holocaust, 1939-1945 Collective memory Holocaust memorials Welles, Orson, 1915-1985 Motion picture theaters Social history Memory World War II keyword: Carol Reed collective memory East German cinema Orson Welles Second World War films The Stranger The Third Man ab: Traditional scholarship in social film history views groups of films from a certain time period as encapsulations of the overriding national mindset of that time. However, film scholarship has challenged this notion of what sociologists term 'collective memory', insisting instead that a wider range of films be included and several 'collective memories' be formulated in order to broaden the understanding of time-specific societal beliefs. In addition, research in memory studies has challenged the insistence on 'national memories', preferring instead the exploration of 'transnational memories'. Most prominent among transnational memory scholarship is the work being done on the Holocaust. This article examines four films produced in three different national cinemas from the early post-war period (1946–49), all of which deal with the aftermath of the Holocaust in some way. Analysing these four films (The Murderers Are among Us, Rotation, The Stranger and The Third Man) and these three national cinemas (East Germany, America and Great Britain) shows how a specific transnational event such as the Holocaust can produce several aesthetic and narrative signifiers internationally while also being specifically formulated to meet local, national sensibilities. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of European Popular Culture is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of European Popular Culture holder: Intellect Ltd. dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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