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Open Access (free)
Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

’, even experiential, access to would no longer be limited to the memories of events through which one actually lived. This essay will argue that the effects of capitalist commodification and mass culture are not exclusively privatising and therefore conservative; these forces have also opened up the potential for a progressive, even radical politics of memory: such a politics instrumentalises what I have

in Memory and popular film
Ideology, physical destruction, and memory
Rémi Korman

From 1994 onwards, bodies have been at the centre of the politics of memory surrounding the genocide of the Tutsi. As well as constituting evidence in forensic investigations, bodies are on display in the memorials to the genocide. This exhibiting of bodies aims principally to remind visitors of the historical facts of the genocide: the sites of the massacres and the methods used during them. The research carried out by Rwandan institutions with a view to memorialising the genocide is uniformly insistent on the "practices of cruelty" employed during it. Inventories of weapons used during the massacres are accompanied by descriptions of different methods of killing. These methods are also represented in many memorials. This paper will examine how these constructed ideologies of the twentieth century affected the treatment of Tutsis in the Rwandan genocide and the alarming consequences this created for the destruction of dehumanised bodies.

in Destruction and human remains
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Robert Burgoyne

. 8 See Alison Landsberg, ‘Prosthetic Memory: The Logic and Politics of Memory in Modern American Culture’ (PhD dissertation, University of Chicago, 1996), p. 13. 9 See Alison Landsberg, ‘America, the Holocaust, and the Mass Culture of Memory: Toward a Radical Politics of Empathy’, New German

in Memory and popular film

By expanding the geographical scope of the history of violence and war, this volume challenges both Western and state-centric narratives of the decline of violence and its relationship to modernity. It highlights instead similarities across early modernity in terms of representations, legitimations, applications of, and motivations for violence. It seeks to integrate methodologies of the study of violence into the history of war, thereby extending the historical significance of both fields of research. Thirteen case studies outline the myriad ways in which large-scale violence was understood and used by states and non-state actors throughout the early modern period across Africa, Asia, the Americas, the Atlantic, and Europe, demonstrating that it was far more complex than would be suggested by simple narratives of conquest and resistance. Moreover, key features of imperial violence apply equally to large-scale violence within societies. As the authors argue, violence was a continuum, ranging from small-scale, local actions to full-blown war. The latter was privileged legally and increasingly associated with states during early modernity, but its legitimacy was frequently contested and many of its violent forms, such as raiding and destruction of buildings and crops, could be found in activities not officially classed as war.

Open Access (free)
Yulia Karpova

, predominant in the public discourse of contemporary Russia and informed by the politics of memory about the Soviet past. One narrative is reflected in Boris Berlin’s response to my research interests. It depicts Soviet design as plagiaristic, low-quality, neglectful of the consumer, or altogether non-existent. It is shared by some former employees of VNIITE who felt constrained by the bureaucratic structures of these institutions and upset that so few of their ideas could be implemented. In particular, Soloviev (who lived a long life until 2013) is remembered within the

in Comradely objects
Open Access (free)
Memory and popular film
Paul Grainge

/memory, Part II examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. These sites have generated hard fought battles of memory within American historical and political

in Memory and popular film
Open Access (free)
Why exhume? Why identify?
Élisabeth Anstett and Jean-Marc Dreyfus

the Civil War and twenty-five years after the restoration of democracy that the first exhumation of the Republican dead could take place (while the bodies of Francoist combatants and civilians had been honoured much earlier). We must therefore keep in mind that the timing of exhumation always depends on the political (and sometimes geopolitical) context, such as the national politics of amnesty or the local politics of memory. This chronology also depends on unique and complex social contexts that allow (through the emergence of a consensus) or else prevent (when

in Human remains and identification
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

film rather cleverly weaves elements of culture war rhetoric in and within a media fiction (i.e. the 1950s sitcom) whose myths of family idealism and harmonious community it contiguously deconstructs. Rather than a paradigm of narrative confusion, ideological idiocy or historicist blockage, Pleasantville plays reflexively with culture war discourse and its constituent politics of memory. Colourised

in Memory and popular film