tag:blogger.com,1999:blog-36284254682093368182024-03-05T12:35:07.927-08:00SCREENING ATROCITYMirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-3628425468209336818.post-13049188594138351072012-11-19T03:24:00.002-08:002012-11-19T03:25:35.913-08:00Register for this event HERE><a href="http://forms.ncl.ac.uk/view.php?id=3910">Registration Link</a>Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-63035069800520374842012-11-19T03:23:00.000-08:002012-11-19T03:23:13.226-08:00Poster<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTtjWeGrOATNIoQrYroJ8ojGAZvFDLhyphenhyphenIvXhmyCcwAn3SL-G2HpgxJbXSoLSB-EcdyT63ATKyvz4jZ9FNithU7jvcClK-7nKy751lajFOkZo6wvNa7alJ8pcexmbt6bNfuAtzuVZy6u1_/s1600/sa_poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTtjWeGrOATNIoQrYroJ8ojGAZvFDLhyphenhyphenIvXhmyCcwAn3SL-G2HpgxJbXSoLSB-EcdyT63ATKyvz4jZ9FNithU7jvcClK-7nKy751lajFOkZo6wvNa7alJ8pcexmbt6bNfuAtzuVZy6u1_/s640/sa_poster.png" width="452" /></a></div>
<br />Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-50452483147638829662012-11-19T03:22:00.001-08:002012-11-19T03:22:14.199-08:00Programme
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
panose-1:0 0 0 0 0 0 0 0 0 0;
mso-font-charset:128;
mso-generic-font-family:roman;
mso-font-format:other;
mso-font-pitch:fixed;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1107305727 0 0 415 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin-top:0cm;
margin-right:0cm;
margin-bottom:10.0pt;
margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;
mso-fareast-language:ZH-CN;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-size:10.0pt;
mso-ansi-font-size:10.0pt;
mso-bidi-font-size:10.0pt;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-ansi-language:EN-US;
mso-fareast-language:JA;}
@page WordSection1
{size:595.3pt 841.9pt;
margin:72.0pt 72.0pt 72.0pt 72.0pt;
mso-header-margin:36.0pt;
mso-footer-margin:36.0pt;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<br />
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 16.0pt; line-height: 115%;">“Screening
Atrocity: Cinema, Decolonisation and the Holocaust”</span></b></div>
<div align="center" class="MsoNormal" style="line-height: normal; text-align: center;">
<span style="font-family: "Times New Roman"; font-size: 14.0pt;">A free, one-day
postgraduate workshop taking place at Culture Lab, Newcastle University, 10<sup>th</sup>
January 2013</span><span style="font-family: "Times New Roman"; font-size: 16.0pt;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<u><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">PROGRAMME</span></u></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">10:30-11:00 <span style="mso-tab-count: 1;"> </span>Registration
and welcome </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">11:00-12:00 <span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">Panel 1: Audience and Affect (Chair: Joe
Barton)</b></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 2;"> </span></span></b><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">Matt
Lawson (Edge Hill): ‘Hearing Atrocity: Film Music and the Holocaust'</span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">Gareth McAreavey (Liverpool):
‘Winning Hearts and Minds and Eyes: Recognizing Terrorism in Bouchareb’s <i style="mso-bidi-font-style: normal;">Hors La Loi’</i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">12:00-12:15 <span style="mso-tab-count: 1;"> </span>Break</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">12:15-1:15<span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">Panel 2: Testimony and Complicity (Chair:
Claire Peters)</b></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 2;"> </span></span></b><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">Alex
Adams (Newcastle): ‘Torquemada, Vichy, Paratroopers: <i style="mso-bidi-font-style: normal;">La Question’</i></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">Iain Mossman (Cardiff):
‘Constructing the war without a name through the men without a voice:
Multidirectional memory and the Algerian War <i style="mso-bidi-font-style: normal;">Appelés</i> in <i>La Guerre Sans Nom’</i><span style="mso-bidi-font-style: italic;"> </span>(1992)</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">1:15-2:15<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Lunch</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">2:15-3:15 <span style="mso-tab-count: 1;"> </span>Keynote
Speaker: Professor Maxim Silverman</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">3:15-4:15<span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">Panel 3: Presence and Absence (Chair: Alex
Adams)</b></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">Claire Peters (Birmingham):
“There is no present”: Cityspace, Memory, Representation and ‘Reality’ in <i style="mso-bidi-font-style: normal;">Caché </i>(Haneke 2005)</span></div>
<div class="MsoNormal" style="margin-left: 72.0pt;">
<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;">Kierran Horner (Kings College London): Presence and
Absence: the Revelation of War in <i style="mso-bidi-font-style: normal;">Le Joli
Mai </i>and<i style="mso-bidi-font-style: normal;"> La Jetée </i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;">4:15-4:40 <span style="mso-tab-count: 1;"> </span>Screening
of Chris Marker’s </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;">La Jetée </span></i><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;">(1962)</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;">4:40-5:00 <span style="mso-tab-count: 1;"> </span>Close</span><span style="font-family: "Times New Roman"; font-size: 12.0pt; line-height: 115%;"></span></div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-35441709541256672992012-10-22T07:55:00.002-07:002012-10-22T07:55:51.714-07:00Max Silverman Quote<div class="MsoNormal" style="margin: 0in 0in 10pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: 'Times New Roman','serif';"></span><span style="font-family: 'Times New Roman','serif';"><span style="font-size: small;">'My purpose is not simply to seek out narratives which deal with colonialism and the Holocaust together. It is rather an attempt to unearth an overlapping vocabulary, lexicon, imagery, aesthetic and ultimately history shared by representations of colonialism and the Holocaust' (Silverman 2008: 420)</span></span></div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-17525888630712195162012-10-17T07:59:00.002-07:002012-10-17T07:59:43.662-07:00In relation to Chris Marker's La jetée (1962)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMmONhpcoBFBVzX8Nekpvf7FUd5Je8Myw3nl9E5D_WD9vOMBKjfocWBhBoBDq548tLl24onYEvnCf5JXNfsxUoicWvOGLoJl7E3JiuHkUS4N7bmq-DFEccExgajtGu0zGXQP0WZ7Q9kcjA/s1600/la-jetee-man-2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMmONhpcoBFBVzX8Nekpvf7FUd5Je8Myw3nl9E5D_WD9vOMBKjfocWBhBoBDq548tLl24onYEvnCf5JXNfsxUoicWvOGLoJl7E3JiuHkUS4N7bmq-DFEccExgajtGu0zGXQP0WZ7Q9kcjA/s320/la-jetee-man-2.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'While the tolls of France's colonial wars in Indochina (1948-1954) and more <br />immediately in Algeria (1954-1962) are not as evident as in Marker's biography, <i>La jetée's</i> <br />bleak, post-apocalyptic setting attests to World War II's enduring malaise' (Bravo 2009: 2)</td></tr>
</tbody></table>
<br />Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-78380807766683333662012-10-17T07:48:00.001-07:002012-10-22T07:53:22.371-07:00Night and Fog/The Battle of Algiers/Kapò<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20TQGFWwf42ONVbNKKYXUdXiDn-hZESThp5Nxwwg_EW7k6LoCQx7Cv2o0WROPZbY31H_wTI3J72Fy2jNztQMoP4f9Bmybyfl4-2mVY2peSBelT2llJtz2eLHRBmXXbdJqzETc0TbW2mgK/s1600/Night-and-Fog-Alain-Resnais-DVD-Review.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20TQGFWwf42ONVbNKKYXUdXiDn-hZESThp5Nxwwg_EW7k6LoCQx7Cv2o0WROPZbY31H_wTI3J72Fy2jNztQMoP4f9Bmybyfl4-2mVY2peSBelT2llJtz2eLHRBmXXbdJqzETc0TbW2mgK/s320/Night-and-Fog-Alain-Resnais-DVD-Review.jpg" width="320" /></a></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8VCOFG0N1sqYlJ3KgVWqciyFikttvxOqq6QUSryukXJ3no6CkVeh9CgNNlru15CMWFjwb8pdc85ayyvGr9KFgPbbs0XWthi_1jPt4iGxlQpQdC8ZZT1qa5x-PJVUXdiMNiMkl2fgqG5G/s1600/battle-of-algiers-1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8VCOFG0N1sqYlJ3KgVWqciyFikttvxOqq6QUSryukXJ3no6CkVeh9CgNNlru15CMWFjwb8pdc85ayyvGr9KFgPbbs0XWthi_1jPt4iGxlQpQdC8ZZT1qa5x-PJVUXdiMNiMkl2fgqG5G/s320/battle-of-algiers-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQHlKohIBlRJQIvkqwBN8WvR-6-l0vaXx4wATCXJ_P0cDHJ0T2tKKubRq_9qJZjWgCvyE8OYBx4FKLlI4q5nyWWIv3xo8UoQUb_dN_VCv5okpZGMzR6flNrH7BOwnJWeI-vai1HH6QT-G/s1600/SeminalImage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQHlKohIBlRJQIvkqwBN8WvR-6-l0vaXx4wATCXJ_P0cDHJ0T2tKKubRq_9qJZjWgCvyE8OYBx4FKLlI4q5nyWWIv3xo8UoQUb_dN_VCv5okpZGMzR6flNrH7BOwnJWeI-vai1HH6QT-G/s320/SeminalImage.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div style="text-align: justify;">
<br />
<br />
<span class="st">From top: <em>Night and Fog </em>(Resnais 1955), </span><span class="st"><em>The Battle of Algiers </em>(Pontecorvo 1966), <em>Kapò </em>(Pontecorvo 1960)</span></div>
<div style="text-align: justify;">
Although ostensibly about the Algerian War,<em> </em>Gillo Pontecorvo's<em> </em><span class="st"><em>The Battle of Algiers </em>(1966) simultaneously makes reference to earlier films about the Holocaust, including</span><span class="st"> <span class="st">Alain Resnais's <i>Night and Fog</i> (1955) and his own work <em>Kapò </em>(1960), both of which display similar representational and formal patterns . . .</span></span></div>
<div style="text-align: justify;">
<span class="st"><span class="st"><br /></span></span></div>
<div style="text-align: justify;">
<span class="st"><span class="st"><br /></span></span></div>
<div style="text-align: justify;">
<span class="st"><span class="st"><br /></span></span></div>
<div style="text-align: justify;">
<br /></div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-44451307587347198042012-10-17T07:15:00.000-07:002012-10-22T07:54:06.902-07:00Charles Jones Quote<div style="text-align: justify;">
'It may be true that a curious empathy arising out of their experience of irregular Resistance operations against the German occupying forces in the 1940s affected many of the officers who were to serve in Algeria' (Jones 2007: 451)</div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-30641769781455216982012-10-17T07:06:00.001-07:002012-10-17T07:07:11.285-07:00Neil Macmaster Quote<div style="text-align: justify;">
'The argument developed in 2000–02 was that French society could only come to terms with, and lance the abcess of, systematic colonial violence through a <i>travail de verite</i> and by formal government recognition of responsibility for past war crimes, just as the state had for its participation in the Holocaust under the Vichy regime' (Macmaster 2004: 9)</div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-66267591417732920922012-10-03T05:34:00.002-07:002012-10-03T05:34:23.469-07:00In relation to Micheal Haneke's Hidden (2005)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyMBI89ruOQ-7KadCZVL3sQcidjdfze5jbJvE6HtUlv2fjmYStxg_YJ3girJCwjq-eaz3U1MF2t8hSw6wFveTtil3S1EcsHP9lwv6C5Lo15LLI6dJkh97sjS8BuCvB2geswD02kkL-8JPv/s1600/hidden.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyMBI89ruOQ-7KadCZVL3sQcidjdfze5jbJvE6HtUlv2fjmYStxg_YJ3girJCwjq-eaz3U1MF2t8hSw6wFveTtil3S1EcsHP9lwv6C5Lo15LLI6dJkh97sjS8BuCvB2geswD02kkL-8JPv/s400/hidden.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'The store of interconnecting and superimposed images that returns is thus composed of different <br />sites of horror in which, perhaps inevitably, echoes of the Holocaust invade the memory of a <br />Franco-Algerian past' (Maxim Silverman 2010: 59)</td></tr>
</tbody></table>
<br />Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-83553292983043823312012-10-02T09:01:00.001-07:002012-10-02T09:12:22.125-07:00In relation to Jean-Luc Godard's Le Petit Soldat (1960)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ofBwe5w0fSiORLyc8hVuhm5ugTOHu3lfLvnInRt1DI00kVyRI3_Fd5F3rJxZbqJLC2jfmmrsbneXE3YKMP486hUXbIZGiF5EBT1BO9Olsz6vfQ9wrpRQwiLXr-2HJtM9YpB9lZGgwXVV/s1600/Untitled.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ofBwe5w0fSiORLyc8hVuhm5ugTOHu3lfLvnInRt1DI00kVyRI3_Fd5F3rJxZbqJLC2jfmmrsbneXE3YKMP486hUXbIZGiF5EBT1BO9Olsz6vfQ9wrpRQwiLXr-2HJtM9YpB9lZGgwXVV/s400/Untitled.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In its ethics and aesthetics of ambiguity, Jean-LucGodard's narrative simultaneously bears witness to a moment of multidirectional memory, in which discourses surrounding the Holocaust and the Algerian War appear to converge. In particular, the film's antihero Bruno forms a complex composite of O.A.S. agent and the French Resistance hero Pierre Brossolette; his torture thus emerging as a means to unite two forms of collective trauma traditionally regarded as distinct . .
</td></tr>
</tbody></table>
<br />Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-20271054054139713932012-09-24T05:34:00.002-07:002012-09-24T05:34:08.294-07:00In relation to Alain Resnais's Muriel ou le temps d'un retour (1963)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjise68XlSoQGinPSDYJrybataWXSaRwI-lPWc9R5WkjVDxhuJyhRCxDzD0OdaXy8-dHdrN1CyaI7vux-rqlKDGnTtWLzmtHG0LE1tbzwuKgPPmDb1J1SD1sWFcw12sb67mj3wS7ZtqPm2c/s1600/muriel-1963-01-g.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjise68XlSoQGinPSDYJrybataWXSaRwI-lPWc9R5WkjVDxhuJyhRCxDzD0OdaXy8-dHdrN1CyaI7vux-rqlKDGnTtWLzmtHG0LE1tbzwuKgPPmDb1J1SD1sWFcw12sb67mj3wS7ZtqPm2c/s400/muriel-1963-01-g.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Resnais's films bear witness not only to the long reach of "global" memories but also to those stemming from some of the darkest and most repressed zones of the national past. It is not only the "monstrous historical spectacles" of the camps and the bomb that provoke the pain and melancholy felt in Resnais's cinema. It is also the bitter memory of the Algerian War and especially that of the Occupation' (Naomi Greene 1999: 34)</td></tr>
</tbody></table>
<br />Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-15359802068755033712012-09-20T01:36:00.000-07:002012-09-20T01:36:21.538-07:00In relation to Chronique d' un été (Rouch 1961)
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWxPZuu4n5Zz3FFStqFv4-lQdXxBEhyphenhyphenfZfM-1a7_TR_BRoz2oNkcQbN68xJvRmVkEk-w2GZSporvNruPHXONbLfQmKSdQCv4xUQ5ofqmD1cALrFWIs0JvPLclP7NYtOIQx-sXt_xIdq10/s1600/photo-Chronique-d-un-ete-1960-3.jpg" imageanchor="1" style="clear: right; cssfloat: right; height: 225px; margin-bottom: 1em; margin-left: auto; margin-right: auto; width: 312px;"><img border="0" hea="true" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioWxPZuu4n5Zz3FFStqFv4-lQdXxBEhyphenhyphenfZfM-1a7_TR_BRoz2oNkcQbN68xJvRmVkEk-w2GZSporvNruPHXONbLfQmKSdQCv4xUQ5ofqmD1cALrFWIs0JvPLclP7NYtOIQx-sXt_xIdq10/s400/photo-Chronique-d-un-ete-1960-3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'The emergence of the survivor from silence and the private sphere of intimate associations- indeed the emergence of that very private sphere- into the public space of articulation parallels the process of the Eichmann trial, but derives its impetus at least in part from the intense, ongoing struggles of decolonization which were forcing a new recognition of racialized state violence' (Rothberg 2009: 195) </td></tr>
</tbody></table>
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<em></em></div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-12831167899190242702012-09-19T05:02:00.001-07:002012-09-19T05:02:04.146-07:00Michael Rothberg Quote<div style="text-align: justify;">
'The greatest hope for a new comparatism lies in opening up the seperate containers of memory and identity that buttress competitive thinking and becoming aware of the mutual constitution and ongoing transformation of the objects of comparison. Too often comparison is understood as "equation" - the Holocaust cannot be compared to any other history, the story goes, because it is unlike them all. This project takes dissimilarity for granted, since no two events are ever alike, and then focuses its intellectual energy on investigating what it means to invoke connotations nonetheless' (Rothberg 2009: 18)</div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0tag:blogger.com,1999:blog-3628425468209336818.post-34647611156172196102012-09-17T09:05:00.000-07:002012-09-17T09:05:10.998-07:00CALL FOR PAPERS<div style="color: black; direction: ltr; font-family: Tahoma; font-size: 10pt;">
<span style="color: black; font-family: Cambria;"><span style="font-size: medium;">CALL FOR PAPERS:
</span></span><span style="font-size: medium;"><span style="color: black; font-family: Cambria;"></span><span style="font-family: Cambria;">SCREENING ATROCITY: CINEMA, DECOLONISATION AND THE HOLOCAUST<br />
<br />
<span style="font-size: small;">A one-day postgraduate workshop at Culture Lab, Newcastle University, 10 January 2013
</span></span></span><br />
<br />
<div class="xmsonormal" style="line-height: 150%; margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: small;"><span style="color: black; font-family: Cambria;"></span></span><span style="font-family: Cambria;"><span style="font-size: small;">Keynote speaker: Professor Maxim Silverman</span><br />
</span></div>
<div class="xmsonormal" style="line-height: 150%; margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Cambria;"></span> </div>
<div class="xmsonormal" style="line-height: 150%; margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Cambria;">Traditionally, the fields of
postcolonial, cultural, and memory studies have tended to regard the
discourses of the Holocaust and the Algerian War of decolonisation
(1954-1962) as separated by an invisible ‘colour line’- propagating
a notion of collective memory as competitive and Nazi genocide as a
paradigmatic, sui generis (singular) event which ‘differs from every
case said to compare to it’ (Steven Katz). On the other hand, a
comparatively nuanced approach to collective memory and
discourse has recently emerged through the work of Michel Rothberg
(2009), whose close analysis of cultural artefacts as sites of
palimpsestic, ‘multidirectional memory’ has had profound ramifications
for the fields of Holocaust and postcolonial studies. Applying
Rothberg’s theories exclusively<span> </span>to the discourse of
cinema, this postgraduate workshop will thus discuss the extent to which
filmic representations of the Holocaust can be said to parallel (and
diverge from) representations of France’s colonial
legacy, <span>through a structured, comparative exploration of cinematic themes and visual tropes (see below). This one-day event will
</span>ultimately involve the aim of re-inscribing both discourses
within a dialogical space of intercultural convergence as opposed to
inassimilable difference and alterity.<span style="color: black;"></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Cambria; font-size: 10pt; line-height: 150%;"></span> </div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">Twenty
minute papers may address any style of filmmaking including;
classical/hegemonic Hollywood cinema, American ‘Jewish Revenge cinema,’
Israeli Second Generation Cinema, East/West
German cinema, the French New Wave, Left Bank, <i><span>cinéma vérité, </span></i><span>Algerian
<i>cinéma moudjahid </i>(freedom-fighter cinema) and Third/Fourth Cinema (although this list is far from exhaustive)</span>. Participants are encouraged to focus upon
<b>either</b> representations of the Holocaust <b>or</b> the Algerian War, whilst
</span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">possible papers could focus upon the themes of;</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Cambria; font-size: 10pt; line-height: 150%;"></span> </div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';"> </span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">Gender and atrocity</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';"> </span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">Concentrationary spaces</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">‘Screen memories’</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">Torture
</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">Trauma</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;">The concept of truth (<i>la</i>
</span><i><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">vérité</span></i><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">)</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">The notion of home/homeland/Heimat
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">Nostalgia
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">The figure of the child
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">The figure of the ‘resistant’
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">The figure of the ‘survivor’
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">Fragmentations of identity
</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">Testimonial narratives</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">Concepts of arriving and returning</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 150%; text-align: justify; text-indent: -18pt; text-justify: inter-ideograph;">
<span style="color: black; font-family: Symbol; font-size: 10pt; line-height: 150%;"><span>·<span style="font: 7pt 'Times New Roman';">
</span></span></span><span style="font-family: Cambria; font-size: 10pt; line-height: 150%;">Repression- ‘Vichy/Algeria Syndrome’</span><u><span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span></u></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: Cambria; font-size: 10pt; line-height: 150%;"></span> </div>
<div class="xmsonormal" style="line-height: 150%; margin: 0cm 0cm 10pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: Cambria;">Please send abstracts of 250 words to either Mani Sharpe
</span><a href="https://owa.ncl.ac.uk/owa/redir.aspx?C=faf2776852494c96ae5006b1b8b52987&URL=mailto%3am.sharpe%40newcastle.ac.uk" target="_blank"><span style="font-family: Cambria;">m.sharpe@newcastle.ac.uk</span></a><span style="color: black; font-family: Cambria;"> or Gary Jenkins
</span><a href="https://owa.ncl.ac.uk/owa/redir.aspx?C=faf2776852494c96ae5006b1b8b52987&URL=mailto%3ag.jenkins%40newcastle.ac.uk" target="_blank"><span style="font-family: Cambria;">g.jenkins@newcastle.ac.uk</span></a><span style="color: black; font-family: Cambria;"> by the 31st of October
2012</span></div>
</div>
Mirror Speech Screening http://www.blogger.com/profile/02960434938453032078noreply@blogger.com0