Table of contents

Hard-boiled detective fiction in its purest form, comparable to Seven or the True Detective series. “I read a lot of detective fiction and about crime, but never before had a story left me with such a long literary hangover. For more than a week I was incapable of beginning any other book. So, what distinguishes this book from others? Many things. Above all, it is the passion with which it is written, the personalities of the characters, the explosive ending, the writer's imagination and much more.” Rebelión de Libros, Blog Intense, brutal and crude. This novel is a rollercoaster of emotions with an unexpected ending. While the novel is not lengthy, it has all of what is required for it to be an outstanding and complete story.” “Marcos Nieto is a very particular writer, very much a chameleon. One of his traits is to always present us with very meticulous work, but above all great content.” El Escritorio del Búho, Blog. “The Indelible Shadow offers intelligence and clarity to a story that (with the forewarning of a potential spoiler) provides intrigue through its characters, such as the protagonist and narrator or his partner, the ever-present cervantine counterpoint, all which break away from the stereotypes of the genre.” “For these reasons, the Indelible Shadow is an excellent suggestion for lovers of suspense and thrillers. You will not be disappointed, not for a second.” Falsaria, Blog On the whole, a realistic police story, nothing fanciful and quite harsh, no holds barred. We are presented with dissimilar characters, all with their own past and intricate personalities, helping us to understand their actions. The perfect book for any fan of crime fiction.” Devorador de Libros, Blog “I’m a big fan of the genre and I can say that for a long time I had not been engrossed by a book, one that intrigued me, kept me captivated right until the end, that was until the Indelible Shadow. Simply one-of-a

Indelible Shadows investigates questions raised by films about the Holocaust. How does one make a movie that is both morally just and marketable? Film scholar Annette Insdorf provides sensitive readings of individual films and analyzes theoretical issues such as the "truth claims" of the cinematic medium. The third edition of Indelible Shadows includes five new chapters that cover recent trends, as well as rediscoveries of motion pictures made during and just after World War II. It addresses the treatment of rescuers, as in Schindler's List; the controversial use of humor, as in Life is Beautiful; the distorted image of survivors, and the growing genre of documentaries that return to the scene of the crime or rescue. The annotated filmography offers capsule summaries and information about another hundred Holocaust films from around the world, making this edition the most comprehensive and up to date discussion of films about the Holocaust, and an invaluable resource for film programmers and educators. Annette Insdorf is Director of Undergraduate Film Studies at Columbia University, and a Professor in the Graduate Film Division of the School of the Arts. She is the author of Double Lives, Second Chances: The Cinema of Krzysztof Kielowski (Hyperion, 1999) and Francois Truffaut (Cambridge, 1995). She served as a jury member at the Berlin Film Festival and the Locarno Film Festival, and is the panel moderator at the Telluride Film Festival. Insdorf co-hosts (with Roger Ebert) Cannes Film Festival coverage for BRAVo/IFC.

Despite the claims of Steven Pinker and others, violence has remained a historical constant since the Enlightenment, even though its forms and visibility have been radically transformed. Accordingly, the studies gathered here recast debate over violence in modern societies by undermining teleological and reassuring narratives of progress.

Writing the Holocaust provides students and teachers with an accessibly written overview of the key themes and major theoretical developments which continue to inform the nature of historical writing on the Holocaust. Holocaust studies is at a paradox: while historians of the Holocaust defend it as a legitimate and well-defined area of research, they write against a complex political and ideological background that undermines any claim for it as a normative field of historical study. Writing the Holocaust offers a lucid enquiry into this complex field by demonstrating the impact of current theories from the humanities and social sciences upon the treatment of Holocaust studies.

The Holocaust has been the focus of countless films in the United States, Great Britain, and Europe, and its treatment over the years has been the subject of considerable controversy. When finally permitted to portray the atrocities, filmmakers struggled with issues of fidelity to historical fact, depictions of graphic violence, and how to approach the complexities of the human condition on all sides of this horrific event. In Hollywood and the Holocaust, Henry Gonshak explores portrayals of the Holocaust from the World War II era to the present. In chapters devoted to films ranging from The Great Dictator to InglouriousBasterds, this volume looks at how these films have shaped perceptions of the Shoah. The author also questions if Hollywood, given its commercialism, is capable of conveying the Holocaust in ways that do justice to its historical trauma. Through a careful consideration of over twenty-five films across genres—including Life Is Beautiful, Cabaret, The Reader, The Boys from Brazil, and Schindler’s List—this book provides an important look at the social, political, and cultural contexts in which these movies were produced. By also engaging with the critical responses to these films and their role in the public’s ongoing fascination with the Holocaust, this book suggests that viewers take a closer look at how such films depict this dark period in world history. Hollywood and the Holocaust will be of interest to cultural critics, historians, and anyone interested in the cinema’s ability to render these tragic events on screen.

A sweeping survey of how global filmmakers have treated the subject of the Holocaust.

From neorealism's resolve to Berlusconian revisionist melodramas, this book examines cinema's role in constructing memories of Fascist Italy. Italian cinema has both reflected and shaped popular perceptions of Fascism, reinforcing or challenging stereotypes, remembering selectively and silently forgetting the most shameful pages of Italy's history.

Providing diverse insights into Jewish–Gentile relations in East Central Europe from the outbreak of the Second World War until the reestablishment of civic societies after the fall of Communism in the late 1980s, this volume brings together scholars from various disciplines – including history, sociology, political science, cultural studies, film studies and anthropology – to investigate the complexity of these relations, and their transformation, from perspectives beyond the traditional approach that deals purely with politics. This collection thus looks for interactions between the public and private, and what is more, it does so from a still rather rare comparative perspective, both chronological and geographic. It is this interdisciplinary and comparative perspective that enables us to scrutinize the interaction between the individual majority societies and the Jewish minorities in a longer time frame, and hence we are able to revisit complex and manifold encounters between Jews and Gentiles, including but not limited to propaganda, robbery, violence but also help and rescue. In doing so, this collection challenges the representation of these encounters in post-war literature, films, and the historical consciousness. This book was originally published as a special issue of Holocaust Studies.

The Western world's responses to genocide have been slow, unwieldly and sometimes unfit for purpose. So argues David Patrick in this essential new contribution to the aid and intervention debate. While the UK and US have historically been committed to the ideals of human rights, freedom and equality, their actual material reactions are more usually dictated by geopolitical 'noise', pre-conceived ideas of worth and the media attention-spans of individual elected leaders. Utilizing a wide-ranging quantitative analysis of media reporting across the globe, Patrick argues that an over-reliance on the Holocaust as the framing device we use to try and come to terms with such horrors can lead to slow responses, misinterpretation and category errors - in both Rwanda and Bosnia, much energy was expended trying to ascertain whether these regions qualified for 'genocide' status. The Reporting of Genocide demonstrates how such tragedies are reduced to stereotypes in the media - framed in terms of innocent victims and brutal oppressors - which can over-simplify the situation on the ground. This in turn can lead to mixed and inadequate responses from governments. Reporting on Genocide also seeks to address how responses to genocides across the globe can be improved, and will be essential reading for policy-makers and for scholars of genocide and the media.