Concentrationary Imaginaries

Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds. Her publications include Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures (2013). Pollock is Series Editor of Bloomsbury's New Encounters Series. Max Silverman is Professor of Modern French Studies at the University of Leeds. His publications include Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film (2013). Griselda Pollock and Max Silverman are joint authors of Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011. They are also joint editors of Concentrationary Memories: Totalitarian Terror and Cultural Resistance, the first of three volumes on the Concentrationary in New Encounters Series, of which Concentrationary Imaginaries is the second to be published.

List of Illustrations Acknowledgements Series Preface: Concentrationary Memories: The Politics of Representation, Griselda Pollock and Max Silverman Introduction A Concentrationary Imaginary?, Griselda Pollock Part I. Thinking 1. Framing Horror, Adriana Cavarero 2. Between Realism and Fiction: Arendt and Levi on Concentrationary Imaginaries, Olivia Guaraldo 3. Totality, Convergence, Synchronization, Ian James Part II. Desire 4. Wrap me up in Sadist Knots: Representations of SadismFrom Naziploitation to Torture Porn, Aaron Kerner 5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavanis The Night Porter (1974), Griselda Pollock Part III. Camp 6. Seep and Creep: the Concentrationary Imaginary in Martin Scorseses Shutter Island (2010), Benjamin Hannavy Cousen 7. Haneke and the Camps, Max Silverman 8. Spec(tac)ularizing Campness: Nikita and La Femme Nikita the Series, Brenda Hollweg Notes Bibliography Notes on Contributors Index