Representing Genocide

This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations – the majority – largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations – often, but not always, originating from those who experienced genocide – tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.

Understanding Atrocities is a wide-ranging collection of essays bridging scholarly and community-based efforts to understand and respond to the global, transhistorical problem of genocide. The essays in this volume investigate how evolving, contemporary views on mass atrocity frame and complicate the possibilities for the understanding and prevention of genocide. The contributors ask, among other things, what are the limits of the law, of history, of literature, and of education in understanding and representing genocidal violence? What are the challenges we face in teaching and learning about extreme events such as these, and how does the language we use contribute to or impair what can be taught and learned about genocide? Who gets to decide if it's genocide and who its victims are? And how does the demonization of perpetrators of atrocity prevent us from confronting the complicity of others, or of ourselves? Through a multi-focused and multidisciplinary investigation of these questions, Understanding Atrocities demonstrates the vibrancy and breadth of the contemporary state of genocide studies. With contributions by: Amarnath Amarasingam, Andrew R. Basso, Kristin Burnett, Lori Chambers, Laura Beth Cohen, Travis Hay, Steven Leonard Jacobs, Lorraine Markotic, Sarah Minslow, Donia Mounsef, Adam Muller, Scott W. Murray, Christopher Powell, and Raffi Sarkissian

What happens to people and the societies in which they live after genocide? How are the devastating events remembered on the individual and collective levels, and how do these memories intersect and diverge as the rulers of postgenocidal states attempt to produce a monolithic “truth” about the past? In this important volume, leading anthropologists consider such questions about the relationship of genocide, truth, memory, and representation in the Balkans, East Timor, Germany, Guatemala, Indonesia, Nigeria, Rwanda, Sudan, and other locales. Specialists on the societies about which they write, these anthropologists draw on ethnographic research to provide on-the-ground analyses of communities in the wake of mass brutality. They investigate how mass violence is described or remembered, and how those representations are altered by the attempts of others, from NGOs to governments, to assert “the truth” about outbreaks of violence. One contributor questions the neutrality of an international group monitoring violence in Sudan and the assumption that such groups are, at worst, benign. Another examines the consequences of how events, victims, and perpetrators are portrayed by the Rwandan government during the annual commemoration of that country’s genocide in 1994. Still another explores the silence around the deaths of between eighty and one hundred thousand people on Bali during Indonesia’s state-sponsored anticommunist violence of 1965–1966, a genocidal period that until recently was rarely referenced in tourist guidebooks, anthropological studies on Bali, or even among the Balinese themselves. Other contributors consider issues of political identity and legitimacy, coping, the media, and “ethnic cleansing.” Genocide: Truth, Memory, and Representation reveals the major contribution that cultural anthropologists can make to the study of genocide. Contributors. Pamela Ballinger, Jennie E. Burnet, Conerly Casey, Elizabeth Drexler, Leslie Dwyer, Alexander Laban Hinton, Sharon E. Hutchinson, Uli Linke, Kevin Lewis O’Neill, Antonius C. G. M. Robben, Debra Rodman, Victoria Sanford

In this intellectually and politically potent new book, Martin Shaw proposes a way through the confusion surrounding the idea of genocide. He considers the origins and development of the concept and its relationships to other forms of political violence. Offering a radical critique of the existing literature on genocide, Shaw argues that what distinguishes genocide from more legitimate warfare is that the enemies targeted are groups and individuals of a civilian character. He vividly illustrates his argument from a wide range of historical episodes, and shows how the question 'What is genocide?' matters politically whenever populations are threatened by violence. This compelling book will undoubtedly open up vigorous debate, appealing to students and scholars across the social sciences and in law. Shaw's arguments will be of lasting importance.

Film and Genocide brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentary Night and Fog about the Nazis’ mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide. Film and Genocide also includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director of The Portraitist (2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the camp; Nick Hughes, director of 100 Days (2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director of Ghosts of Rwanda (2004), a television documentary for Frontline.

Atrocity presents a problem to the writer of children's literature. To represent events of such terrible magnitude and impersonal will as the Holocaust, the transatlantic slave trade, or the Rwandan genocide such that they fit into a three-act structure with a comprehensible moral and a happy ending is to do a disservice to the victims. Yet to confront children with the fact of widescale violence without resolution is to confront them with realities that may be emotionally disturbing and even damaging. Despite these challenges, however, there exists a considerable body of work for and about children that addresses atrocity. To examine the ways in which writers and artists have attempted to address children's experience of atrocity, this collection brings together original essays by an international group of scholars working in the fields of child studies, children's literature, comics studies, education, English literature, and Holocaust, genocide, and memory studies. It covers a broad geographical range and includes works by established authors and emerging voices.

Examines the ways in which writers and artists have attempted to address children's experience of atrocity.

At the heart of this inquiry into the ethical implications of education reform on reading practices in middle and secondary classrooms, the central question is what is lost, hidden, or marginalized in the name of progress? Drawing on her own experiences as an English teacher during the No Child Left Behind era, the author examines school cultures focused on meeting standards and measurable outcomes. She shows how genocide literature illuminates the ethics of reading and helps teachers and students rethink how literature should be taught in this modern, globalized era and the purposes of education more broadly.

This book mobilises the concept of kitsch to investigate the tensions around the representation of genocide in international graphic novels that focus on the Holocaust and the genocides in Armenia, Rwanda, and Bosnia. In response to the predominantly negative readings of kitsch as meaningless or inappropriate, this book offers a fresh approach that considers how some of the kitsch strategies employed in these works facilitate an affective interaction with the genocide narrative. These productive strategies include the use of the visual metaphors of the animal and the doll figure and the explicit and excessive depictions of mass violence. The book also analyses where kitsch still produces problems as it critically examines depictions of perpetrators and the visual and verbal representations of sexual violence. Furthermore, it explores how graphic novels employ anti-kitsch strategies to avoid the dangers of excess in dealing with genocide. The Representation of Genocide in Graphic Novels will appeal to those working in comics-graphic novel studies, popular culture studies, and Holocaust and genocide studies.

This paper explores the theatrical staging of genocide using Julia Kristeva's theory of abjection to highlight the impossibility of understanding and fully comprehending genocide. Traditional staging methods typically use a cohesive narrative structure which limits and edits the event to provide a stable conclusion. The debate of representing genocide does not centre solely on why one tries to stage these events but has shifted to emphasize how and if these events can be represented. Many theatre groups recognize the benefits of non-traditional staging methods. Groupov's Rwanda 94 (2000) highlights the inability of the abject to be performed and the impossibility of containing genocide by the length of the production as well as the integration of several art forms. In the exploration of visuality in Hotel Modern's Kamp (2005) the challenges of representing pain and violence are foregrounded. The ability to view the Holocaust is impacted by the intersection between film and the use of small puppets.