Cover Image

Everyday representations of war in late modernity [electronic resource] / Nerijus Milerius [and more]

This book analyses photographic and cinematographic representations of war and its memorialisation rituals in the period of late modernity from the perspectives of cultural sociology, philosophy, art theory and film studies. It reveals how the experience of war trauma takes root in everydayness and...

Full description

Saved in:
Bibliographic Details
Online Access: Full Text (via Springer)
Main Author: Milerius, Nerijus
Other Authors: Narušytė, Agnė, Davoliūtė, Violeta, 1967-, Brasiskis, Lukas
Format: Electronic eBook
Language:English
Published: Cham : Palgrave Macmillan, 2022.
Series:Identities and Modernities in Europe.
Subjects:
War in mass media.
War > Psychological aspects.
War > Pictorial works.
War > Sources.
Table of Contents:
  • Intro
  • 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.

Similar Items