Description
Book SynopsisIn 1945, French political prisoners returning from the concentration camps of Germany coined the phrase ''the concentrationary universe'' to describe the camps as a terrible political experiment in the destruction of the human. This book shows how the unacknowledged legacy of a totalitarian mentality has seeped into the deepest recesses of everyday popular culture. It asks if the concentrationary now infests our cultural imaginary, normalizing what was once considered horrific and exceptional by transforming into entertainment violations of human life. Drawing on the political philosophy of Hannah Arendt and the analyses of violence by Agamben, Virilio, Lacoue-Labarthe and Nancy, it also offers close readings of films by Cavani and Haneke that identify and critically expose such an imaginary and, hence, contest its lingering force.
Table of ContentsList 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 Sadism—From Naziploitation to Torture Porn,
Aaron Kerner 5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavani’s The Night Porter (1974),
Griselda Pollock Part III. Camp 6. Seep and Creep: the Concentrationary Imaginary in Martin Scorsese’s 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
