Everyday Representations of War in Late Modernity

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
	Chernobyl Zone: Political Context (Fig. 9.1)
	The Chernobyl Disaster: A Threat That Could Occur Again (Fig. 9.2)
	References
Index