Holocaust Perversions: The Stalags Pulp Fiction and the Eichmann Trial

Pinchevski, Amit; Brand, Roy

doi:10.1080/07393180701694598

Cited by 17 publications

(4 citation statements)

References 17 publications

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“…But there is now a long tradition of considering the use of an aesthetics of excess as opposed to an aesthetics of restraint to figure the Holocaust, which, while not uncritical, does see 'grotesque realism' (Vice 2000, p. 9) as a potentially viable response to the event. The Israeli pulp fiction 'Stalags' (Pinchevski and Brand 2007) of the 1960s, Jean-François Steiner's novel Treblinka (Steiner [1966] 1994; see also Moyn 2005), the odd erotics of The Night Porter (Sontag 1975;Friedländer [1982Friedländer [ ] 2000, and even the 'visceral' descriptions of Daniel Jonah Goldhagen (Ball 2008) have all attracted scholarly attention. It is not uncommon now to see an approach such as that taken by Aaron Kerner (2011), who considers a whole range of cinematic representations of the Holocaust, including 'Nazi-sploitation' movies, 13 paying more attention to how the Holocaust is figured rather than whether it can or should be.…”

Section: Impieties and Intensitiesmentioning

confidence: 99%

‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?

Williams

2019

Genealogy

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This article tackles a well-known but little-studied phenomenon: the importance of Holocaust themes to heavy metal. The fascination of metal bands with evil and death has until recently been met outside the scene with such reactions as moral panic, disgust or indifference. In the last ten years, however, scholars in an emerging discourse of Metal Studies have attempted to engage more critically with the social and musical dimensions of metal, in order to contextualise and understand its lyrics and imagery. Although a number of writers have touched upon the recurrence of Holocaust imagery, no one has dealt at any length with extreme metal as a form of Holocaust memory. My article focuses on what might be called the founding text of extreme metal, Slayer’s ‘Angel of Death’, which lived up to the sub-genre’s name by pushing both its musical form and its lyrical content beyond previously maintained limits and taboos. It considers the song's mobilisation of affective intensities as involving problematic politics, but also a challenge to conceptions of Holocaust representation. I consider how affects are evoked by ‘Angel of Death’ through offering readings of the song itself as well as of ways that its reception have been recorded on social media, in concert videos, and reaction videos uploaded to YouTube.

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Section: Impieties and Intensitiesmentioning

confidence: 99%

‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?

Williams

2019

Genealogy

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“…The fusion of sex and violence has informed (early) cultural representations of the Holocaust, as the appeal of using the setting of systematic mass violence to explore sexual and moral transgressions finds an expression in a range of texts. Early examples of 'Holokitsch' (a term coined by Art Spiegelman, pointing to notions of excess and sentimentalisation in the construction of Holocaust narratives) include Ka-Tzetnik's 1953 novel House of Dolls, which presents a 'bizarre and startling mixture of kitsch, sadism, and what initially appears as outright pornography, with remarkable and at times quite devastating insights into the reality of Auschwitz' (Bartov 1997a, 46) and the Stalags pulp novels that were primarily published in Israel in the 1960s, in which the Holocaust functions as a setting of sexual domination and torture between sadistic and nymphomaniac female SS guards and Allied soldiers (see Pinchevski and Brand 2007). In a cinematic context, the Nazisploitation genrewith films like Love Camp 7 (Lee Frost 1969) and Ilsa: She-Wolf of the SS (Don Edmonds 1975)aims to titillate and shock by presenting a purposefully spectacular fusion of sex and violence that combines elements of voyeurism, body horror, and pornography (see Rapaport 2003;Koven 2004;Magilow, Vander Lugt, and Bridges 2012).…”

Section: Excessive Rape Narratives and Elements Of Spectaclementioning

confidence: 99%

Reading presence and absence in Fax from Sarajevo’s rape narrative

Veld

2018

Journal of Graphic Novels and Comics

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In Joe Kubert's Fax from Sarajevo, the chapter 'The Rape Camp' deals with the mass rape of women by Serb troops during the Bosnian War. Kubert's rape narrative displays a tension between presence and absence that is analysed on different (extra)textual levels. Formally, the two incentives interact when Kubert inscribes the sexual violence on the page but acknowledges its visual limitations by constructing it as an act that can be read from the faces of the people involved and through the use of language. On a narrative level, the chapter's disconnect from the rest of the story marginalises its content and does not explore the longlasting effects of rape, though Kubert briefly refers to genocidal rape at other points in the graphic novel. Furthermore, the tension between presence and absence in Kubert's rape narrative is informed by a cultural backdrop of excessive images of sexual violence. The article argues that this oscillation between inscription and elision in Fax from Sarajevo works productively, as it demonstrates a reflexive awareness of the risks of visualising rape.

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“…Most researchers identify the first turning point in Israeli Holocaust commemoration as the trial of Adolf Eichmann in 1961 in Jerusalem (Ofer, ; Pinchevski & Brand, ). The nation's leaders considered the trial as an educational tool.…”

Section: Theoretical Framework: Collective Recollection Holocaust Mementioning

confidence: 99%

“Ketchup Is the Auschwitz of Tomatoes”: Humor and the Collective Memory of Traumatic Events

Zandberg

2014

Communication, Culture & Critique

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This study explores the interrelations between humorous texts and the memory of traumatic events through an analysis of skits aired on Israeli television that are related to Holocaust memory. The study presents a typology of these skits indicating an evolutionary development: from the use of humor to criticize Holocaust remembrance to the use of Holocaust memory to create humorous effects. Contextualizing these findings in the fields of media memory and trauma theory, the study argues that this evolutionary development challenges the hegemonic commemorative discourse of the Holocaust: while commemorative discourse plays a distinctive role in performing cultural trauma, the media's humorous discourse conveys a sacrilegious viewpoint and thus can play a vital role in recuperating from it.

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Holocaust Perversions: The Stalags Pulp Fiction and the Eichmann Trial

Cited by 17 publications

References 17 publications

‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?

‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?

Reading presence and absence in Fax from Sarajevo’s rape narrative

“Ketchup Is the Auschwitz of Tomatoes”: Humor and the Collective Memory of Traumatic Events

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