دانلود کتاب Everyday Representations of War in Late Modernity

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Contents
About the Authors
List of Figures
1: Introduction
References
2: Cold War Cinema and the Traumatic Turn in Europe
Introduction
Social Trauma and the Memory of the Second World War
The Canon of the Holocaust Film
Conclusion
References
3: The Holocaust and Screen Memories of the Soviet and Post-Soviet Cinema
Introduction
De-Stalinisation and the Traumatic Turn
The Soviet Trauma Drama: The Destruction of Ethnic Lithuanian Villages
Facing the Perpetrator in Post-Soviet Cinema
Conclusions
References
4: The Conflict of Photographic and Cinematographic Representations of War in Soviet Lithuania
The Empty Battlefield of the Cold War
The Photograph as a Dislocating Counter-Memorial
Us, an Army of the Past: Film
Choreography of the Crowd
‘Us’ and ‘Them’: Film
Dislocating Monuments and Ideological Signs: Photography
Counter-Memorialisation Now
A Lost Memorial
Conclusions
References
5: The Architecture of Lingering War in Everyday Life: Photography and the Double Time of Military Apparatus
The Event of Photographing and the Event of Architecture
The Lingering Environments and Military Structures
The Eroding Everyday as a War Zone
Trauma Lost in the Everyday and Detected Again as the Architecture of War
Conclusions
References
6: The Erasure of War Crimes and their Visualisation in Post-Soviet Eastern European Cinema
Introduction
Arendt and Bauman: Unmasking the Invisible Destruction System
Arendt and the Unmasking of the Extermination System Onstage
Visualising Death: László Nemes’ Son of Saul
Visualising Crime and Guilt: Matulevičius’ Izaokas
Conclusions
References
7: In Between Hauntology and Representation: Spectres of War in Sergei Loznitsa’s Reflections and Deimantas Narkevičius’ Legend Coming True
Introduction
Hauntology and Film as Practice and Method
Traumatic Events: The (Un)representable
Double Impositions: War and Everyday
Aural Evidence and Ghostly Space: Then and Now
Conclusions
References
8: Vision Machine and Modern Warfare: Visualising Invisible Powers of Images in Harun Farocki and Hito Steyerl’s Films
Introduction
Vision Machine: From Paul Virilio to Harun Farocki
War at Distance: Operational Images and Sightless Vision in Harun Farocki’s Films
How Not to Be Seen: Digital (In)Visibility in Hito Steyerl’s Work
In Lieu of a Conclusion. Understanding Modern Warfare
References
Films
9: From Sites of Atrocities to Films of Death and Vice Versa
Introduction
Cinema as Virtual Dark Tourism
Touristic Experience as a Target and Device for Criticism
Auschwitz and Austerlitz: The Paradoxes of the Mistake
Genocide: What Has Already Happened and Is Yet to Happen
Another Disaster Site: From Auschwitz to Chernobyl
Chernobyl Zone: Political Context (Fig. 9.1)
The Chernobyl Disaster: A Threat That Could Occur Again (Fig. 9.2)
References
Index