Course+Schedule+and+Readings

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(**In-class screening): Excerpts from //Imaginary Witness: Hollywood and the Holocaust.// Dir. Daniel Anker. 2004.**

Readings for Tue, Sept 15:
 * "History of the Holocaust: An Overview." //Teaching About the Holocaust//. (From //The United States Holocaust Memorial Museum//) [PDF]
 * "Chronology of the Holocaust." //Teaching About the Holocaust//. (From //The United States Holocaust Memorial Museum//) [PDF]
 * Young, James. "Names of the Holocaust: Meaning and Consequences." //Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation//. Ed. James Edward Young. Bloomington: Indiana University Press, 1988. 83-98. [PDF]
 * Hilberg, Raul. "I Was Not There." //Writing and the Holocaust//. Ed. Berel Lang. New York: Holmes & Meier, 1988. 17-25. [PDF]

Also start reading the novel **//Jacob the Liar//, by Jurek Becker,** as this will come up in discussions throughout the semester.

......... FILES:



**

** WEEK 2 (A): Historical "Fact" and "Fiction" **
Screening on Mon, Sept 21:
 * //Schindler's List//. Dir. Steven Spielberg. 1993. (RT: 195 minutes)**

Reading for Tue, Sept 22:
 * Friedländer, Saul. "Introduction." //Probing the Limits of Representation: Nazism and the 'Final Solution//. Ed. Saul Friedländer. Cambridge, MA: Harvard Univ. Press, 1992. 1-21. [PDF]
 * White, Hayden. "Historical Emplotment and the Problem of Truth." //Probing the Limits of Representation: Nazism and the Final Solution//. Ed. Saul Friedländer. Cambridge, MA: Harvard University Press, 1992. 37-53. [PDF]
 * Lang, Berel. "Holocaust Genres and the Turn to History." //The Holocaust and the Text: Speaking the Unspeakable.// Ed. Andrew Leak and George Paizis. New York: St. Martin's Press, 2000. 17-31. [PDF]
 * Hansen, Miriam. "//Schindler's List// Is Not //Shoah//: Second Commandment, Popular Modernism, and Public Memory." //Visual Culture and the Holocaust//. Ed. Barbie Zelizer. New Brunswick, New Jersey: Rutgers University Press, 2001. 127-151. [PDF]
 * Weissman, Gary. "Shoah Illustrated, Section 1: Steven Spielberg and the Sensitive Line." //Fantasies of Witnessing: Postwar Efforts to Experience the Holocaust//. Ithica: Cornell University Press, 2004. 140-189. [PDF]


 * Remember to be reading Jurek Becker's //Jacob the Liar//!**

Recommended: ........ FILES:
 * Hoberman, J., et al. "Schindler's List: Myth, Movie, and Memory." //Village Voice//. March 29, 1994. [PDF]

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**

**WEEK 3 (B): Trauma, Representation, and "the Real"**
Screening on Mon, Sept 28 ** : //Shoah//. Dir. Claude Lanzmann. 1985. (Excerpts, RT: 180 minutes) **

Reading for Tue, Sept 29: ......... FILES: ...........................................................................................................................................................................................
 * Caruth, Cathy. "Introduction: The Wound and the Voice." //Unclaimed Experience: Trauma, Narrative and History.// Baltimore: The Johns Hopkins University Press, 1996. 1-9. [PDF]
 * Caruth, Cathy. “Trauma and Experience” excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 192-198. [PDF]
 * Delbo, Charlotte. "Days and Memory" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 45-49. (Excerpt) [PDF]
 * Felman, Shoshana. "The Return of the Voice: Claude Lanzmann's //Shoah.//" //Testimony: Crises of Witnessing in Literature, Psychoanalysis and History.// Shoshana Felman and Dori Laub. London and New York: Routledge, 1992. 204-283. [PDF]
 * Weissman, Gary. "Shoah Illustrated, Section 2: Claude Lanzmann and the Ring of Fire." //Fantasies of Witnessing: Postwar Efforts to Experience the Holocaust.// Ithaca: Cornell University Press, 2004. 189-206. [PDF]
 * Agamben, Giorgio. "What is a Camp?" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 252-256. [PDF]
 * Agamben, Giorgio. //Remnants of Auschwitz: The Witness and the Archive//. Trans. Daniel Heller-Roazen. New York: Zone, 1999. **Read excerpts: "Preface," pages 11-15, and sections 2.1-2.7 from chapter 2, "The Muselmann," pages 41-54 . [PDF - WHOLE BOOK]**

**

** WEEK 4 (C): Seeing/Speaking: Testimony and Witnessing **
Screening on Mon, Oct 5:
 * **"Hanna Block Kohner." //This is Your Life.// //NBC//. 1953. (RT: approximately 30 minutes)**
 * **"Memory of the Camps." //Frontline//. //PBS//. 1985. (RT: approximately 60 minutes)**
 * **//Seeing.// (//Fortunoff Video Archive// testimony video #8060) (RT:16 minutes)**

Reading for Tue, Oct 6:
 * Bathrick, David. "Teaching Visual Culture and the Holocaust." //Teaching the Representation of the Holocaust//. Eds. Marianne Hirsch and Irene Kacandes. New York: Modern Languages Association, 2004. 286-300. [PDF]
 * Shandler, Jeffrey. "Creating the Viewer (1945-1960)," "The Image as Witness," and "This Is Your Life." //While America Watches: Televising the Holocaust.// Oxford and New York: Oxford University Press, 1999. 1-40. [PDF for all]
 * Laub, Dori. "Bearing Witness or the Vicissitudes of Listening" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 221-226. [PDF]
 * Hartman, Geoffrey. "Learning from Survivors: The Yale Testimony Project." //The Longest Shadow: In the Aftermath of the Holocaust.// Bloomington: Indiana University Press, 1996. 133-150. [PDF]
 * Langer, Lawrence. "Deep Memory: The Buried Self." //Holocaust Testimonies: The Ruins of Memory//. New Haven: Yale University Press, 1991. 1-38. [PDF]
 * Agamben, Giorgio. //Remnants of Auschwitz: The Witness and the Archive//. Trans. Daniel Heller-Roazen. New York: Zone, 1999. Excerpts from chapter 1, "The Witness." **Read sections 1.1-1.3 and 1.8-1.15, pages 15-18 and 24-39**. [PDF]

Recommended: ......... FILES:
 * Haggith, Toby. "Filming the Liberation of Bergen-Belsen." //Holocaust and the Moving Image: Representations in Film and Television Since 1933.// New York: Wallflower Press, 2005. 33-49. [PDF]





**

**WEEK 5 (A): Documenting: Vision and Truth**
Screening on Mon, Oct 12 :
 * ** //Night and Fog.// Dir. Alain Resnais. 1955. (RT: 32 minutes) **
 * ** //The Maelstrom: A Family Chronicle// Dir. Peter Forgács. 1997. (RT: 60 minutes) **
 * ** //Der Fuehrer schenkt den Juden eine Stadt//. (//The// //Fuehrer// //Gives the Jews a City//); Alternate title: //Theresienstadt: Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet// (//Terezin: A Documentary Film of the Jewish Resettlement//). 1944. (RT: 25 minutes) **
 * **//Theresienstadt: Deception and Reality//****. Dir. Irmgard von zur Muhlen (RT: 72 minutes)**

Recommended: You can view short excerpts (just 1-3 minutes each) from other Péter Forgács films at [|http://www.forgacspeter.hu/english/films] (just click on the film titles). Particularly recommended are the excerpts from 1994's //[|Meanwhile Somewhere ... 1940-1943]//; 1996's //[|Free Fall]//; 1997's //[|Class Lot]//; and 1998's //[|The Danube Exodus].// That latter film also formed the basis for an expanded, multi-media installation that Forgács designed in collaboration with the Labyrinth Project, an art and research collective based at the University of Southern California that specializes in interactive database narrative and digital scholarship. Called //The Danube Exodus: The Rippling Currents of the River//, this immersive installation involves multiple-screen film projections plus a touchscreen monitor interface that allows users to explore particular aspects of the narrative in more detail. You can read about it at [|http://college.usc.edu/labyrinth/forgacs/forgacs.html] and interact with some parts of it online at [|http://www.danube-exodus.hu/] by clicking on "Jewish Exodus," "Capt. Nandor Andrasovits," and "German Exodus" under the top photos (though this website does not contain all of the material that the on-site touchscreen computers have).

Reading for Tue, Oct 13: FILES:
 * Zelizer, Barbie. "Collective Memories, Images, and the Atrocity of War." //Remembering to Forget: Holocaust Memory Through the Camera's Eye//. Chicago: University of Chicago Press, 1998. 1-15. [PDF]
 * Cowie, Elizabeth. "Seeing and Hearing for Ourselves: The Spectacle of Reality in the Holocaust Documentary." //Holocaust and the Moving Image: Representations in Film and Television Since 1933.// New York: Wallflower Press, 2005. 182-188. [PDF]
 * Flitterman-Lewis, Sandy. "Documenting the Ineffable: Terror and Memory in Alain Resnais's Night and Fog." //Documenting the Documentary: Close Readings of Documentary Film and Video//. Eds. Barry Keith Grant and Jeanette Sloniowski. Detroit, Michigan: Wayne State, 1998. 204-222**.** [PDF]
 * Insdorf, Annette. "Meaningful Montage" and "The Personal Documentary." //Indelible Shadows: Film and the Holocaust.// Cambridge: Cambridge University Press, 2003. [PDFs -excerpts: 36-38 and 199-201. ]
 * Becker, Lutz. "Film Documents of Theresienstadt." //Holocaust and the Moving Image: Representations in Film and Television Since 1933//. New York: Wallflower Press, 2005. 93-101. [PDF]
 * Renov, Michael. "Historical Discourses of the Unimaginable: Peter Forgács’s //The Maelstrom// (Victor magazine), //Malmo//, 2004/ 9 [text available here: []]
 * Nichols, Bill. "The Memory of Loss: Péter Forgács’s Saga of Family Life and Social Hell (Bill Nichols in Dialogue with Péter Forgács)." //Film Quarterly.// Vol. 56, No. 4 (Summer 2003): 2–12. [PDF]



**

**Rationality and Irrationality, Knowledge and Ignorance, Enlightenment and Barbarism**
Screening on Mon, Oct 19 :
 * ** //The Reader//. Dir. Stephen Daldry. 2008. (RT: 124 minutes) **
 * ** //The Garden of the Finzi-Continis//. Dir. Vittorio De Sica. 1970. (RT: 94 minutes) **

Reading for Tue, Oct 20:
 * Levi, Neil, and Michael Rothberg. "Literature and Culture After Auschwitz: Introduction." //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 273-276. [PDF]
 * Benjamin, Walter. "Theses on the Philosophy of History" excerpt. //The Holocaust: Theoretical Readings.// Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 277-279. [PDF]
 * Adorno, Theodor. "Cultural Criticism and Society" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers University Press, 2003. 280-281. [PDF]
 * Adorno, Theodor. "Meditations on Metaphysics" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers UP, 2003. 282-287. [PDF]
 * Howe, Irving. "Writing and the Holocaust" excerpt. //The Holocaust: Theoretical Readings,// Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers UP, 2003. 288-290. [PDF]
 * Weigel, Sigrid. "Non-Philosophical Amazement – Writing in Amazement: Benjamin’s Position in the Aftermath of the Holocaust" excerpt. //The Holocaust: Theoretical Readings.// 291-298. [PDF]
 * Bauman, Zygmunt. "The Uniqueness and Normality of the Holocaust" excerpt. //The Holocaust: Theoretical Readings.// 82-88. [PDF]
 * Milchman, Alan, and Ala Roesenberg. "Two Kinds of Uniqueness: The Universal Aspects of the Holocaust" excerpt. //The Holocaust: Theoretical Readings.// 444-450. [PDF]
 * Agamben, Giorgio. //Remnants of Auschwitz: The Witness and the Archive.// Trans. Daniel Heller-Roazen. New York: Zone, 1999. Excerpts from chapter 2, "The Muselmann"; from chapter 3, "Shame, Or On The Subject"; and from chapter 4, "The Archive and Testimony."**Read sections 2.8-2.24, pp. 54-86; sections 3.17-3.18 and 3.23-3.24, pages 120-123 and** **132-135; and sections 4.11 and 4.13-4.14, pages 159- 162 and 164-175.]** [PDF]
 * Insdorf, Annette. "Beautiful Evasions?" //Indelible Shadows: Film and the Holocaust.// Cambridge: Cambridge University Press, 2003. 111-115. [PDF]
 * Niven, Bill. "Bernhard Schlink's //Der Vorleser// and the Problem of Shame." //The Modern Language Review//. Vol. 98, No. 2. (April 2003): 381-396. [PDF]
 * Dargis, Mahrola. "Innocence Is Lost in Postwar Germany." (Movie Review of //The Reader//). //New York Times// (December 10, 2008) available at []


 * Remember to be reading Jurek Becker's //Jacob the Liar//; if you haven't already done so, you should aim to finish it by next week. And, once you've finished that novel, start reading Art Spiegelman's graphic novel, //The Complete Maus: A Survivor's Tale//, which will also become relevant to upcoming class discussions.**

........ FILES:



**

**WEEK 7 (C): Learning About the Holocaust**
Screening on Mon, Oct 26 :
 * **//The Diary of Anne Frank.// Dir. George Stevens. 1959. (RT: 171 minutes)**
 * **//The Sound of Music//. Dir. Robert Wise. 1965. (RT: 174 minutes)**

Students should also look at "Daniel's Story" from //The United States Holocaust Memorial Museum// at: [[|http://www.ushmm.org/museum/ exhibit/exhibit/]] as well as through these sites: Daniel's Story #1 http://www.youtube.com/watch?v=9uFMHq4kCWI Daniel's Story #2 http://www.youtube.com/watch?v=3D6VKMXT92s&feature=related Daniel's Story #3 http://www.youtube.com/watch?v=7whaxhTNRR0&feature=related Daniel's Story #4 http://www.youtube.com/watch?v=9Q7PK2J8-b0&feature=related Daniel's Story #5 http://www.youtube.com/watch?v=2o7ZxZ64xuw&feature=related

Re ading for Tue, Oct 27: >
 * Adorno, Theodor. "Education After Auschwitz." //Critical Models: Interventions and Catchwords//. New York: Columbia University Press, 1998. 191-204. [Text from AAAARG.org]
 * Flanzbaum, Hilene. "Introduction: The Americanization of the Holocaust." //The Americanization of the Holocaust//. Ed. Hilene Flanzbaum. Baltimore: Johns Hopkins University Press, 1999. 1-8. (Excerpt) [PDF]
 * Doneson, Judith. "The Diary of Anne Frank in the Context of Post-War America and the 1950s." //The Holocaust in American Film//. Syracuse NY: Syracuse University Press, 2002. 57-84. [PDF]
 * Bos, Pascale. "Reconsidering Anne Frank: Teaching the Diary in its Historical and Cultural Context." //Teaching the Representation of the Holocaust//. Eds. Marianne Hirsch and Irene Kacandes. New York: Modern Languages Association, 2004. 348-359. [PDF]
 * Kertzer, Adrienne. "The Problem of Childhood, Children's Literature, and Holocaust Representation." //Teaching the Representation of the Holocaust//. Eds. Marianne Hirsch and Irene Kacandes. New York: MLA, 2004. 250-261. [PDF]
 * Reading, Anna. "Young people's Viewing of Holocaust Films in Different Cultural Contexts." //Holocaust and the Moving Image: Representations in Film and Television Since 1933.// New York: Wallflower Press, 2005. 211-216. [PDF]
 * Vansant, // Jacqueline. "Robert Wise's // //The Sound of Music//: The 'Denazification' of Austria in American Cinema." //From World War to Waldheim: Culture and Politics in Austria and the United States//. Eds. David F. Good and Ruth Wodak. New York: Berghahn, 1999. 165-186. [PDF]

Recommended: ........ FILES:
 * Wall, Ian. "The Holocaust, Film, and Education." //Holocaust and the Moving Image: Representations in Film and Television Since 1933.// New York: Wallflower Press, 2005. 203-210. [PDF]
 * Dyer, Richard. "Entertainment and Utopia." //Only// Entertainment. London: Routledge, 1992. 17-34. [PDF]





**

**WEEK 8 (A): Drama and Melodrama**
Screening for Mon, Nov 02:
 * Episodes from //Holocaust: The Story of the Family Weiss//. //NBC.// 1978. (RT: approximately 215 minutes)**

Recommended:

Readings for Tue, Nov 03:
 * LaCapra, Dominick. "Trauma, Loss, Absence." //Critical Inquiry//. Vol. 25, No. 4. (Summer, 1999): 696-727. [PDF]
 * Insdorf, Annette. "The Hollywood Version of the Holocaust." //Indelible Shadows: Film and the Holocaust.// Cambridge: Cambridge UP, 2003. (Excerpts: 2-9 and 23-25.) [PDF]
 * Shandler, Jeffrey. "The Big Event." //While America Watches: Televising the Holocaust//. Oxford and New York: Oxford University Press, 1999. 155-178. [PDF]
 * Feldman, Seth. "Footnote to Fact: The Docudrama." Ed. Barry Grant. //Film Genre Reader.// Austin: University of Texas Press, 1986. 344-356. [PDF]
 * Allen, Robert C. "Open and Closed Serials." Excerpt from "Introduction" in //To Be Continued: Soap Operas Around the World.// New York: Routledge, 1995. 17-26. [PDF]
 * Baudrillard, Jean. "Holocaust" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers UP, 2003. 380-382. [PDF]

Recommended:
 * Doneson, Judith. "Television and the Effects of Holocaust." //The Holocaust in American Film.// Syracuse, New York: Syracuse University Press, 2002. 143-196. [PDF]

** ........ FILES:
 * Remember to be reading Art Spiegelman's graphic novel, //The Complete Maus: A Survivor's Tale//!

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**

**WEEK 9 (B): Comedic Performance**
Screening for Mon, Nov 09 :
 * ** //The Great Dictator//. Dir. Charlie Chaplin. 1940. (RT: 125 minutes) **
 * ** //To Be or Not to Be//. Dir. Ernst Lubitsch. 1942. (RT: 99 minutes) **
 * ** Excerpts from The Producers. Dir. Mel Brooks. 1968. **

Reading for Tue, Nov 10:
 * Pres, Terrence Des. "Holocaust Laughter?" //Writing and the Holocaust//. Ed. Berel Lang. New York: Holmes & Meier, 1988. 216-233. [PDF]
 * Lewis, Paul. "Three Jews and a Blindfold: The Politics of Gallows Humor." //Semites and Stereotypes: Characteristics of Jewish Humor.// Eds. Avner Ziv and Anat Zajdman. Westport, CT: Greenwood Press, 1993, 47-58. [PDF]
 * Insdorf, Annette. "Black Humor." //Indelible Shadows: Film and the Holocaust.// Cambridge: Cambridge UP, 2003. 59-74. [PDF]
 * Richardson, Michael. "'Heil Myself!': Impersonation and Identity in Comic Representations of Hitler." //Visualizing the Holocaust: Documents, Aesthetics, Memory.// Eds. David Bathrick, Brad Prager, and Michael D. Richardson. Rochester, New York: Camden House, 2008. 277-297. [PDF]
 * Kaplan, Louis. " 'It Will Get a Terrific Laugh': On the Problematic Pleasures and Politics of Holocaust." //Hop on Pop: The Politics and Pleasures of Popular Culture.// Ed. Henry Jenkins, Tara McPherson, and Jane Shattuc. Durham, NC: Duke University Press, 2002. 343-56. [PDF]

Recommended: ......... FILES:
 * Be prepared also to discuss Jurek Becker's //Jacob the Liar// and at least the first part of Art Spiegelman's //Maus: A Survivor's Tale.//**
 * Cory, Mark. "Comedic Distance in Holocaust Literature." //Journal of American Culture//. [PDF]



**

**WEEK 10 (C): Fantasy, Utopia, and Dystopia**
Screening on Mon, Nov 16 :
 * **//Life is Beautiful//. Dir. Roberto Benigni. 1997. (RT: 118 minutes)**
 * **//Cabaret//. Dir. Bob Fosse. 1972. (RT: 124 minutes)**

Reading for Tue, Nov 17:
 * Freud, Sigmund. Section II on "Traumatic Neurosis" from //Beyond the Pleasure Principle.// Trans. and ed. James Strachey. New York: W.W. Norton, 1961. 10-17. [PDF]
 * Weissman, Gary. "Introduction: To Feel the Horror" and "Conclusion: The Horror, The Horror." //Fantasies of Witnessing: Postwar Efforts to Experience the Holocaust//. Ithaca: Cornell University Press, 2004. 1-27 and 207-216. [PDF]
 * Insdorf, Annette. Excerpt from "Styles of Tension" and excerpt on //Life is Beautiful// from "The Ironic Touch." //Indelible Shadows: Film and the Holocaust.// Cambridge: Cambridge UP, 2003. 43-49 and 285-292. [PDF]
 * Haskins, Casey. "Art, Morality, and the Holocaust: The Aesthetic Riddle of Begnini's Life Is Beautiful." //The Journal of Aesthetics and Art Criticism.// Vol. 59, No. 4. (Autumn 2001): 373-384. [PDF]
 * Doneson, Judith. Excerpt on //Cabaret// from "Chaos and Social Upheaval: The 1960s and 1970s." //The Holocaust in American Film//. Syracuse, NY: Syracuse University Press, 2002. 121- 127. [PDF]
 * Elsaesser, Thomas. "The Hitler-Welle, or Show Time for Hitler." //Fassbinder's Germany. History, Identity, Subject//. Amsterdam: Amsterdam University Press, 1996. 135-137. [PDF]

Recommended:
 * If you didn't already read Richard Dyer's "Entertainment and Utopia" as recommended for week 7, it also relates to this week's material, and so you might go back and read it now.
 * Ben-Ghiat, Ruth. "The Secret Histories of Roberto Benigni's Life is Beautiful." //The Yale Journal of Criticism//. Volume 14, Number 1 (Spring 2001): 253-266. [PDF] Pages 253-256 are particularly relevant for this class.

....... FILES:



** =** III. ** AFTERIMAGES: PERSONAL AND ** INSTITUTIONAL INHERITANCES **=

**WEEK 11 (A): Trial and Error: Investigations, Interrogations, and Legal (Ir)remedies**
Screening on Mon, Nov 23 : Students should also look at the archival newsreel and radio reports of the Eichmann trial available at: [] [|http://www.history.com/video.do?name=culture&bcpid=1886192586&bclid=1729305731&bctid=1616630046] []
 * **//Judgment at Nuremberg//. Dir. Stanley Kramer. 1961. (RT : 186 minutes)**
 * **//The Nasty Girl//. Dir. Michael Verhoeven. 1990. (RT: 92 minutes)**

Recommended: You can see more reporting of the Eichmann trial (including footage used in the original Israeli news coverage) in the film //The Specialist// (Dir. Eyal Sivan), which will be on reserve at MCM.

Reading for Tue, Nov 24:
 * Arendt, Hannah. "Banality and Conscience: The Eichmann Trial and its Implications." //The Portable Hannah Arendt//. London and New York: Penguin Classics, 2000. (Excerpts: 313-346 and 355-388.) [PDF]
 * Lyotard, Jean-François. "The Differend" excerpt. //The Holocaust: Theoretical Readings//. Eds. Neil Levi and Michael Rothberg. New Brunswick: Rutgers UP, 2003. 257-262. [PDF]
 * Shandler, Jeffrey. "The Man in the Glass Box." //While America Watches: Televising the Holocaust.// Oxford and New York: Oxford University Press, 1999. 83-132. [PDF]
 * Mintz, Alan. "The Holocaust at the Movies." Excerpt on //Judgment at Nuremberg: Popular Culture and the Shaping of the Holocaust Memory//. Seattle: University of Washington Press, 2001. (Excerpt: 85-107.) [PDF]
 * Insdorf, Annette. Excerpt on //The Nasty Girl// from "The Ironic Touch." //Indelible Shadows: Film and the Holocaust// (Third edition) Cambridge: Cambridge UP, 2003. 276-279. [PDF]
 * Kang, Min Soo. Review of //Das Schreckliche Madchen// [//The Nasty Girl//], //The American Historical Review//. Vol. 96, No. 4 (Oct., 1991): 1132-1134. [PDF]

Recommended: ........ FILES: ...........................................................................................................................................................................................
 * Look back at the excerpt on //Judgment at Nuremberg// from Annette Insdorf, "The Hollywood Version of the Holocaust," //Indelible Shadows: Film and the Holocaust//. 7-9 (from week 8 on "Drama and Melodrama").

**


 * Screening on Mon, Nov 30: **
 * ** "Death's Head Revisited." //The Twilight Zone.// //CBS.// 10 November 1961. (RT: **** approximately 25 minutes **** ) **
 * ** Episode of //Hogan's Heroes//. //CBS.// 1965. (RT: approximately 25 minutes) **
 * ** Robert Clary testimony for the Shoah Foundation Institute and/or //Robert Clary A5714: A Memoir of Liberation.// Dir. Bud Margolis. 1984. (RT: 57 minutes). **
 * ** "Patterns of Force." //Star Trek.// //NBC.// 16 February 1968. (RT: 51 minutes) **

If you didn't already look at this during week 5, explore the website for Péter Forgács'/the Labyrinth Project's The Danube Exodus: The Rippling Currents of the River at http://www.danube-exodus.hu/as explained with week 5's recommended material. You can also explore survivor testimony databases through the Yale University's Fortunoff Video Archive for Holocaust Testimonies at http://www.library.yale.edu/testimonies/excerpts/index.html and the Steven Spielberg/USC Shoah Foundation Institute at http://college.usc.edu/vhi/. In addition, look at the website of the United States Holocaust Memorial Museum at http://www.ushmm.org/; and, in particular, the section about their online exhibitions at: http://www.ushmm.org/museum/exhibit/online/. Finally, as a particularly interesting example of digital/VR Holocaust education (and/or entertainment?), look at these videos about the USHMM/Involve Inc.'s Kristallnacht Exhibit in Second Life: http://www.youtube.com/watch?v=EOQmiwpQc7w; http://www.youtube.com/watch?v=Hk2uN7fIh4s.

Reading for Tue, Dec 01:
 * Shandler, Jeffrey. "Introduction" and "Conclusion." //While America Watches: Televising the Holocaust//. Oxford and New York: Oxford University Press, 1999. xi-xviii and 257-261. [PDF]
 * Shandler, Jeffrey. "Aliens in the Wasteland: American Encounters with the Holocaust on 1960s Science Fiction Television." //The Americanization of the Holocaust//. Ed. Hilene Flanzbaum. Baltimore: Johns Hopkins University Press, 1999. 33-44 [PDF]
 * Shandler, Jeffrey. "A Guest in the Wasteland." Short excerpt from //While America Watches: Televising the Holocaust.// 143-145. [PDF]
 * Rampey, Leslie Campbell. "Hogan’s Heroes and the Holocaust: The Association That Just Won’t Go Away," available at //
 * Reading, Anna. "Clicking on Hitler: The Virtual Holocaust @Home." //Visual Culture and the Holocaust//. Ed. Barbie Zelizer. New Brunswick: Rutgers UP, 2001. 323-339. [PDF]
 * Hartman, Geoffrey. "Tele-Suffering and Testimony in the Dot Com Era." //Visual Culture and the Holocaust//. Ed. Barbie Zelizer New Brunswick: Rutgers UP, 2001. 111-124. [PDF]

........ FILES:



**

**WEEK 13 (C): Memory, Postmemory, Memorialization: Public and Private Histories**

 * Screening on Mon, Dec 07 **:
 * //**Silence.**// **Dir. Orly Yadin & Sylvie Bringas. 1998. (RT: 10 minutes)**
 * //**The Ties that Bind.**// **Dir. Su Friedrich. 1984. (RT: 55 minutes)**

Reading for Tue, Dec 08:
 * Hirsch, Marianne. "Surviving Images: Holocaust Photography and the Work of Postmemory." Ed. Barbie Zelizer. //Visual Culture and the Holocaust//. New Brunswick, NJ: Rutgers University Press, 2001. 215-246.
 * Young, James E. "The Holocaust as Vicarious Past: Art Spiegelman’s Maus and the Afterimages of History." //Critical Inquiry//, Vol. 24, No. 3. (Spring, 1998): 666-699.
 * Yadin, Orly. "But is it documentary?" //Holocaust and the Moving Image: Representations in Film and Television Since 1933//. New York: Wallflower Press, 2005. 168-172.
 * Young, James E. "America's Holocaust: Memory and the Politics of Identity." //The Americanization of the Holocaust//. Ed. Hilene Flanzbaum. Baltimore: Johns Hopkins University Press, 1999. 68-82.
 * Cole, Tim. "The United States Holocaust Memorial Museum, Washington, DC," //Selling the Holocaust: From Auschwitz to Schindler, How History is Bought, Packaged and Sold.// New York: Routledge, 1999. 146-171.

.......... FILES:
 * Be prepared also to discuss Art Spiegelman's** //**The Complete Maus: A Survivor's Tale**//**.**