Cinematic Memory and The Americanization of The Holocaust

• Authors: Barbara A. Nelson
• Languages of publication: EN

Abstracts

EN

Steven Soderbergh’s The Good German (2006), while grounding itself in WWII, casts a wide net as it attempts to examine the role of memory, the difficulty of assigning guilt, determining justice, defining the past, and writing history. Its nuanced treatment of these issues is enhanced by its complex ethnic characterizations and its contextualization among a group of WWII American cinematic classics. This ultimately leads to a shift in viewer reception aimed at creating greater understanding and empathy.

Keywords

EN

Film Noir; Jewish representation; identity; memory; WWII

• Publisher: Sciendo
• Journal: Romanian Journal of English Studies
• Year: 2012
• Volume: 9
• Issue: 1
• Pages: 138-146

Dates

published

2012-12-01

online

2013-02-21

Contributors

author

Barbara A. Nelson

• University of Bucharest

References

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• Kaplan, A and Ban Wang. 2004 “Introduction: From Traumatic Paralysis to Force Field of Modernity” in Trauma and Cinema: Cross-Cultural Explorations. Hong Kong: Hong Kong University Press.
• Mazzenga, M. 2009. American Religious Responses to Kristallnacht. London: Palgrave Macmillan.
• Nelson, B. 2009. “ ‘We’ll Always Have Paris,’ and Also Berlin” in Cinematographic Art andDocumentation. Bucharest, Romania: Victor Publishing.
• Suleiman, S. R. 1997. Budapest Diary: In Search of the Motherbook. Lincoln, Nebraska: University of Nebraska Press.
• Suleiman, S. R. 2006. Crisis of Memory and the Second World War. Cambridge, Mass.: Harvard UP. de Waard, A. 2010. “Intertextuality, Broken Mirrors, and The Good German,” in The Philosophy of SevenSoderbergh. Bloomington: Indiana UP, pp.107-119.
• Wager, J, B. 2005. Dames in the Driver’s Seat. Austen: University of Texas.
• Soderbergh, S. 2006. The Good German. Warner Bros. Film.
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Identifiers

DOI

10.2478/v10319-012-0015-x