Notes

Introduction

1 . Pierre Nora, “Gedächtniskonjunktur,” Transit 22 (Winter 2001–2002): 18–31; and Michel Foucault, “Film and Popular Memory,” Radical Philosophy 11 (1975): 24–29. The interview with Foucault originally appeared in Cahiers du cinema, nos. 251–252 (July/August 1974). An English translation of a part of Nora’s essay may be found in Pierre Nora, from “Reasons for the Current Upsurge in Memory,” in Jeffrey K. Olick, Vered Vinitzky-Seroussi, and Daniel Levey, eds., The Collective Memory Reader (New York: Oxford Univ. Press, 2011), 437–441. 2 . Philosopher Paul Ricoeur remarks that the successive waves of memory in France were occasioned by historical events: the Jewish deportations moved to the foreground in the context of the Six-Day War in Israel (1967) and later the 1984 trial of former Hauptsturmführer and Gestapo member Klaus Barbie (who was known as the “butcher of Lyon”). See Paul Ricoeur, “Zwischen Gedächtnis und Geschichte,” Transit 22 (Winter 2001–2002): 12. 3 . Pierre Nora, “Between Memory and History: Les Lieux de Mémoire ,” Representations 26 (Spring 1989): 8. 4 . Ibid., 13–14. 5 . Ibid., 15. 6 . Nora, “Gedächtniskonjunktur,” 31. 7 . Andreas Huyssen, “Present Pasts: Media, Politics, Amnesia,” Public Culture 12, no. 1 (2000): 36. 8 . Maurice Halbwachs, La Topographie légendaire des Évangiles en Terre Sainte: étude de mémoire collective (Paris: Presses Universitaires de France, 1941), 105–112. “Via dolorosa” is literally “The Way of the Cross.” “Stations” is a 13th -century Roman Catholic imaginary construct – one that came later than the original meaning. 9 . Ibid., 205. 10 . Paul Ricoeur, Memory, History, Forgetting, trans. Kathleen Blamey and David Pellauer (Chicago: Univ. of Chicago Press), 124. 11 . Foucault, “Film and Popular Memory,” 28. 12 . Ernst Bloch, Geist der Utopie, Gesamtausgabe , vol. 3 (Frankfurt: Suhrkamp, 1985), 304; and Das Prinzip Hoffnung, Gesamtausgabe , vol. 5 (Frankfurt: Suhrkamp, 1959). 13 . Jan Assmann, “Communicative and Cultural Memory,” in Astrid Erll and Ansgar Nünning, A Companion to Cultural Memory Studies (Berlin: De Gruyter, 2010), 110. 14 . Aleida Assman, “Memory, Individual and Collective,” in Robert E. Goodin and Charles Tilly, The Oxford Handbook of Contextual Political Analysis (Oxford: Oxford Univ. Press, 2006), 210–211. 15 . For a good summary of the memory debates in philosophy, see Frigga Haug, Vorlesungen zur Einfürhung in die Erinnerungsarbeit (Berlin: Argument, 1999).

160 Notes 161

16 . Christian Metz, Le Signifiant imaginaire: psychanalyse et cinéma (Paris: Union générale d’éditions, 1977); The Imaginary Signifier: Psychoanalysis and the Cinema , trans. Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti (Bloomington: Indiana Univ. Press, 1982). 17 . See Yves Bédard, “Images technologiques: ce qu’il advient de la mémoire,” Cinémas 1, no. 3 (Spring 1991): 96. 18 . Huyssen, “Present Pasts,” 36. 19 . Stephen Heath, “Screen Images, Film Memory,” Ciné-Tracts 1, no. 1 (Spring 1977): 35. 20 . Aleida Assmann, “Memory, Individual and Collective,” in The Oxford Handbook of Contextual Political Analysis, 216. 21 . Stuart Hall, “Cultural Identity and Diaspora,” in Jonathan Rutherford, ed., Identity: Community, Culture, Difference (London: Lawrence and Wishart, 1998), 225. 22 . David Bordwell, Narration in the Fiction Film (Madison: Univ. of Wisconsin Press, 1985). 23 . Dudley Andrew, “A Film Aesthetic to Discover,” Cinémas: Revue d’Études Cinématographiques = Journal of Film Studies 17, no. 2/3 (Spring 2007): 47–69. 24 . Ibid., 63. 25 . Foucault, “Film and Popular Memory,” 25. 26 . Huyssen, “Present Pasts,” 29. 27 . Hall, “Cultural Identity,” 236–237. 28 . Cathy Caruth, “Introduction,” in Cathy Caruth, ed., Trauma: Explorations in Memory (Baltimore: The Johns Hopkins Univ. Press, 1995), 5–10. See also Cathy Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore: The Johns Hopkins Univ. Press, 1996), 17. 29 . Caruth, Unclaimed Experience , 11. 30 . Ricoeur, Memory, History, Forgetting, 393–397; and Marianne Hirsch, Family Frames: Photography, Narrative, Postmemory (Cambridge: Harvard Univ. Press, 1997). 31 . Henry Rousso, Le Syndrome de Vichy, de 1944 à nos jours , 2nd ed (Paris: Seuil, 1990). 32 . Ricoeur, Memory, History, Forgetting , 80–82. 33 . Hall, “Cultural Identity,” 225. 34 . Walter Benjamin, “Surrealism, the Last Snapshot of the European Intelligentsia,” Selected Writings, vol. 2 (Cambridge: Harvard Univ. Press, 1999), 215. 35 . Jo-Marie Burt, “Historic Verdict in Guatemala’s Genocide Case Overturned by Forces of Impunity,” NACLA Report on the Americas 46, no. 2 (Summer 2013): 3. 36 . Pierre Nora, “Espanã vive una Guerra civil de memoria,” interview with Salvador Martínez Mas, Pasajes 31 (Winter 2009–2010), 72. 37 . Susan Rubin Suleiman, Crises of Memory and the Second World War (Cambridge: Harvard Univ. Press 2006), 8.

1 Living Memory: Representations of Drancy

1 . Némirovsky was the daughter of Jewish-Russian émigrés who had moved to France after the revolution. At the time of France’s defeat by Germany, Némirovsky had already made a name for herself in French literary circles. 162 Notes

However, she was unable to obtain French citizenship and was deported to Auschwitz, where she perished. See the review by Alice Kaplan, “Love in the Ruins,” The Nation , May 29 (2006): 16–20. 2 . There is, however, one short exchange between the protagonist and his mother about the deportations. To her son’s claim that Jews are being sent to the East to work, the skeptical mother responds: “Are you sending children to construct roads as well? Because you’re also taking children, aren’t you?” The protagonist responds that it is the French police who have carried out the roundups. See Jonathan Littel, Suite française (Paris: Gallimard, 2006), 484. 3 . Eric Conan and Henry Rousso, Vichy: An Ever-Present Past, trans. Nathan Bracher (Hanover, NH: Univ. Press of New England, 1998), 39. 4 . Pierre Nora, “Le Syndrome, son passé, son avenir,” French Historical Studies 19, no. 2 (Autumn 1995): 488. 5 . Ibid., 489. 6 . Ibid., 492. 7 . Serge Klarsfeld has established the chronological table of deportations in Vichy- Auschwitz: la solution “finale” de la question juive en France (1983; Paris: Fayard, 2001). In addition to those deported from Drancy, additional deportations from Lyon and other locations brings the total to 75,721. Of the more than 73,000 deportees from Drancy (which included 11,400 children), there were fewer than 3,000 survivors. Approximately one-third of those deported were French citizens. The total number of Jews in France was 270,000 at the time of the deportations; one-half of these were foreign. In other words, one-fifth of the total Jewish population was deported. The French government officially admits to 120,000 racial deportees, which includes Roma and other groups. In addition, over 2,000 Jews died while interned on French soil. See Henry Rousso, The Vichy Syndrome: History and Memory in France since 1944 (Cambridge, MA: Harvard Univ. Press, 1991); Susan Zuccotti, The Holocaust, the French, and the Jews (New York: Basic Books, 1993); and Michael Marrus and Robert O. Paxton, Vichy France and the Jews (Stanford: Stanford Univ., Press, 1995). 8 . The exhibit went to the train stations of Paris Saint-Lazare, Lyon Part-Dieu, Limoges, Clermont-Ferrand, Marseille Saint-Charles, Rennes, Lille-Flandre, Strasbourg, Nice, Nancy, Bordeaux, Grenoble, Metz, and Paris Nord. See Les 11,400 enfants juifs déportés de France, juin 1942 –août 1944 (Paris: Mairie de Paris, 2007). 9 . Serge Klarsfeld, Le Camp de Drancy et ses gares de déportation: Bourget-Drancy et Bobigny, 20 août 1941–20 août 1944. 60e anniversaire de la déportation des juifs de France (Paris: FFDJF, 2004). 10 . The Klarsfeld interview is online at http://www.youtube.com/watch?v= U2FqdJE7U9I. 11 . See Elaine Sciolino, “By Making Holocaust Personal to Pupils, Sarkozy Stirs Anger,” The New York Times , February 16, 2008, http://www.nytimes. com/2008/02/16/world/europe/16france.html. 12 . Antoine Sabbagh, Lettres de Drancy (Paris: Tallandier, 2002). 13 . Donald Spence, Narrative Truth and Historical Truth: Meaning and Interpretation in Psychoanalysis (New York: W. W. Norton, 1982), 31. 14 . Dominick LaCapra, History and Memory after Auschwitz (Ithaca, NY: Cornell Univ. Press, 1998), 22. Notes 163

15 . In an interview on June 16, 2007, Marcel Bluwal told me that in fact Robert Hughes Lambert was not interned at Drancy but at another camp, so the film has taken a few liberties with the facts. 16 . Interview with the author, June 16, 2007. Marcel Bluwal’s grandmother was deported from Drancy. Bluwal hid for 26 months with his mother in a small room in Paris. His compelling story, in which he also relates his involvement in the birth of the French television industry after the war, is told in Un aller (Paris: Stock, 1975). 17 . Alain Finkielkraut, “From the Novelistic to Memory,” in Lawrence D. Kritzman, ed., Auschwitz and After (New York: Routledge, 1995), 95. 18 . LaCapra, History and Memory, 8; see pp. 95–138 for a discussion of Lanzmann’s Shoah . 19 . Claude Lanzmann, “Seminar with Claude Lanzmann,” Yale French Studies 79 (1991): 82–99. 20 . Georges Didi-Huberman, Images malgré tout (Paris: Les Editions de minuit, 2003), 172. 21 . Clairval’s video has been shown on the French television network France II as well as on the channel of the French Parliament and the cable channel Odysée. It is often broadcast on the last Sunday in April, which was desig- nated in 1954 by the French government as “Journée nationale du souvenir de la déportation,” a day memorializing the deportations. Copies have also been deposited with French schools and with municipal councils. The video received a special mention by the jury at the International Festival of Historical Films in Pessac, France, in 2002. 22 . La Shoah à l’écran: crimes contre l’humanité et représentation (Strasbourg: Conseil d’Europe, 2004), 37–38. The showing at Lincoln Center was sponsored by the Film Society of Lincoln Center, French Cultural Services, and the Cahiers du cinéma . 23 . Susan Buck-Morss, “Preface,” in The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 2001), x. 24 . Georges Perec, W, or, the Memory of Childhood, trans. David Belelos (Boston: David R. Godine, 1988). See also Susan Suleiman, Crises of Memory and the Second World War (Cambridge, MA: Harvard Univ. Press, 2006), 185–195. 25 . Pierre Nora, Les Lieux de mémoire , 3 vols. (1984–1992; reprinted; Paris: Gallimard, 1997). 26 . Patrick Modiano, Dora Bruder , trans. Joanna Kilmartin (Berkeley: Univ. of California Press, 1999), 41. 27 . As many commentators on the Holocaust have noted, “[I]t is a common source of guilt for survivors that their good fortune could only have been bought at the cost of another’s loss.” See Froma I. Zeitlin, “The Vicarious Witness: Belated Memory and Authorial Presence in Recent Holocaust Literature,” in Julia Epstein and Lori Hope Lefkovitz, eds., Shaping Losses: Cultural Memory and the Holocaust (Urbana: Univ. of Illinois Press, 2001), 149. See also Zeitlin in Shaping Losses , 128–160. 28 . Henri Raczymow, Writing the Book of Esther, trans. Dori Katz (New York: Holmes & Meier, 1995), 133. The novel was first published in France with the title Un cri sans voix (Paris: Gallimard, 1985). 29 . Henri Raczymow, “Memory Shot through with Holes,” Yale French Studies 85 (1994): 103. 164 Notes

30 . Raymond Federman, Double or Nothing: A Real Fictitious Discourse (Chicago: Swallow Press, 1971). For a discussion of this work, see Suleiman, Crises of Memory and the Second World War , 196–208. 31 . In a lecture at Harvard University in April 2006, Raymond Federman read from a forthcoming work, Chut (“Shhh”). This was, he writes, the last sound he heard from his mother as she hid him in the closet – the injunction to survive by remaining silent and hidden. Paradoxically, he said, this was the moment that eventually turned him into a writer. 32 . Noël (Nissim) Calef, Drancy 1941, Camp de Représailles, Drancy la faim (Paris: FFDJF, 1991). A subsequent edition with the title Camp de Représailles was published by Éditions de l’Olivier (Paris, 1997). 33 . Serge Klarsfeld, “Preface,” in Calef, Drancy 1941: “Rien de plus puissant et de plus penetrant n’a été écrit sur le sort des juifs en France pendant la Shoa,” ix. 34 . Calef, Drancy 1941 , 205 ff. 35 . Pierre Nora, “Between Memory and History: Les Lieux de Mémoire,” Representations 26 (Spring 1989): 7. 36 . See, for instance, the six commemorative volumes published by Mireille Abramovici and Eve Line, Nous sommes 900 Français à la mémoire des déportés du convoi numéro 73 ayant quitté Drancy le 15 mai 1944 (1999–2000). The volumes can be consulted in the United States Holocaust Memorial Museum. The families say Kaddish at the Selinger monument annually on the Sunday after May 15 in memory of the deportees. The volumes document the life stories of each deportee who had surviving family members, as well as stories of the few survivors. 37 . Caroline Wiedmer, The Claims of Memory: Representations of the Holocaust in Contemporary Germany and France (Ithaca, NY: Cornell Univ. Press, 1999), 63. 38 . Susan Zuccotti, The Holocaust, the French, and the Jews (New York: Basic Books, 1993), 207. 39 . Wiedmer, The Claims of Memory , 71. 40 . Felipe Ferré, “Mémorial National du camp de Drancy,” 5 (based on comments by the sculptor). Consulted in the United States Holocaust Memorial Museum Library. See also Wiedmer, The Claims of Memory, 64–68. For a good expla- nation of the symbolism associated with the Hebrew alphabet, see Rabbi Yitzchak Ginsburgh, The Hebrew Letters: Channels of Creative Consciousness (Rechovot, Israel: Linda Pinsky Publications, 1992). 41 . Wiedmer, The Claims of Memory, 69; Maurice Rajsfus, Drancy: un camp de concentration très ordinaire (Paris: Le Cherche Midi, 1996), 410. The 1996 Cité de la Muette , directed by Jean-Patrick Lebel, is a 90-minute video dating from 1986 that uses a montage between past and present, mingling the history of Drancy as a concentration camp and site of deportation with an account of its present roles as memorial and housing development. Several of the current inhabitants are interviewed. 42 . Marcelle Tristan Bernard, René Blum 1878–1942: textes réunis (Paris: Arts et Métiers Graphiques, 1950). The account by Jean-Jacques Bernard describes Blum’s return from New York to Paris after the French defeat and his atti- tude during the first days of the Occupation. See also Georges Wellers, De Drancy à Auschwitz (Paris: Editions du Centre de Documentation Juive Notes 165

Contemporaine, 1946), with drawings by Gottko; and the first-hand account by Julie Crémieux-Dunand, La Vie à Drancy: récit documentaire (Paris: Gedalge, 1945), with drawings by Jeanne Lévy. When I did research at the library of the United States Holocaust Memorial Museum in 2006, the pages of the volume by Crémieux-Dunand were still uncut. 43 . A number of these stories are recounted in my play, Children of Drancy: A Montage of Voices. The play was directed by Nancy Kindelan and produced by the Northeastern University Department of Theatre in 2007; it has since been produced in a number of other venues. See www.northeastern.edu/drancy. 44 . Willy Holt, Femmes en deuil sur un camion (Paris: Nil: Diffusion Seuil, 1995), 189. 45 . Raymond Federman, “The Necessity and Impossibility of Being a Jewish Writer,” 2004, http://federman.com/rfsrcr5.htm.

2 Amnesiac Memory: Hiroshima in Japanese Film

I would like to express my gratitude to Dr. Joseph Gerson, Director of Programs and Director of the Peace and Economic Security Program of the American Friends Service Committee in New England, for his gracious assist- ance on this chapter, including access to his private archives on Hiroshima and Nagasaki. 1 . See, for instance, Gar Alperowitz, Atomic Diplomacy: Hiroshima and Potsdam (New York: Vintage Books, 1965); John Whittier Treat, Writing Ground Zero: Japanese Literature and the Atomic Bomb (Chicago: Univ. of Chicago Press, 1995); and The Nuclear Century: Voices of the Hibakusha of the World (Japan Peace Museum/Japan Confederation of A- and H-Bomb Sufferers Organizations. Tōkyō: Heiwa no Atorie, 1997). 2 . See Dr. Shuntaro Hida, The Day Hiroshima Disappeared: Testimony by a Bombed Doctor (typewritten ms., Joseph Gerson private collection, American Friends Service Committee New England Regional Office); and “The Day Never to Be Forgotten: A Collection of Testimonies and Pictures by Sufferers of the A-Bombings of Hiroshima and Nagasaki” (Kanagawa Atomic Bomb Sufferers Association, 2005); “The Effects of Atomic Bombs on Hiroshima and Nagasaki,” United States Strategic Bombing Survey , Chapter 2, http://www. anesi.com/ussbs01.htm#teotab. 3 . Despite censorship by the US forces, a demonstration for peace was held in Hiroshima on the first anniversary of the A-bomb; the following year the mayor read the first “Peace Declaration” at the festival. See Unforgettable Fire: Pictures Drawn by Atomic Bomb Survivors, ed. Japanese Broadcasting Corporation (New York: Pantheon Books, 1977), 9. 4 . See M. Susan Lindee, Suffering Made Real: American Science and the Survivors at Hiroshima (Chicago: Univ. of Chicago Press, 1994). 5 . Joseph Gerson, Empire and the Bomb: How the US Uses Nuclear Weapons to Dominate the World (London: Pluto Press, 2007), 272 ff. 6 . For a discussion of censorship in occupied Japan, see Yuko Shibata, “Dissociative Entanglement: US-Japan Atomic Bomb Discourse by John Hersey and Nagai Takashi,” Inter-Asia Cultural Studies 13, no. 1 (2012): 122–137. 166 Notes

7 . The collection of testimonials is an ongoing project of several survivor organizations in Japan. See, for instance, Senji Yamaguchi, co-chair of the Hidankyo organization, published Burnt Yet Undaunted: The Verbatim Account of Senji Yamaguchi, Compiled by Shinji Fujisaki (Japan Confederation of A- and H-Bomb Sufferers Organizations, 2002). See also Widows of Hiroshima: The Life Stories of Nineteen Peasant Wives, ed. Mikio Kanda, trans. Taeko Midorikawa (New York: St. Martin’s Press, 1989); and Hachiya Michihiko, M.D., Hiroshima Diary: The Journal of a Japanese Physician, August 6–September 30, 1945, trans. and ed. Warner Wells, M.D. (Chapel Hill: Univ. of North Carolina Press, 1955). 8 . I would like to thank Yoshiaki Shimizu for this translation, which is closer to Kurosawa’s meaning than the titles by which this film is known in English, Record of a Living Being or I Live in Fear . 9 . Walter Benjamin, “Berliner Kindheit um Neunzehnhundert,” in Gesammelte Schriften, vol. 4, no. 1, ed. Tillman Rexroth (Frankfurt: Suhrkamp, 1991), 267. 10 . Cathy Caruth, Trauma: Explorations in Memory, (Baltimore: Johns Hopkins Univ. Press, 1995), 4–5. As Dr. Joseph Gerson pointed out to me, Chronicle of a Survivor came out in the same year as another film about atomic trauma – the monster sci-fi fantasy Gojira (Godzilla ). Unlike Kurosawa’s film, which can be seen as a “working through” of survivor trauma, Gojira fixates on images of pure terror as the helpless population is pummeled by an immense and uncontrollable force. 11 . Robert J. Lifton, Death in Life: Survivors of Hiroshima (Chapel Hill: Univ. of North Carolina Press, 1991), 464–467; Joan Mellen, The Waves at Genji’s Door: Japan through Its Cinema (New York: Pantheon, 1976), 202–206. 12 . Noel Burch, To the Distant Observer: Form and Meaning in Japanese Cinema (Berkeley: Univ. of California Press, 1989), 308. 13 . Treat, Writing Ground Zero , 236. 14 . Ibid., 239. In his correspondence with the pilot of the lead plane of the Hiroshima bombing, Claude Eatherly, German philosopher Günter Anders praised him for his subsequent descent into madness. He wrote: “The fact that you cannot master what you have done is consoling. Because it shows that now ... you are making the attempt to catch up with, to realize the magnitude of your acts, the effects of which you then had not realized[;] ... this attempt, even if it fails, proves that you have been able to keep your conscience alert. ... One could almost say that it is proof of your moral health.” See Burning Conscience: The Case of the Hiroshima Pilot, Claude Eatherly, Told in His Letters to Günther Anders (New York: Monthly Review Press, 1962), 2–3. 15 . Mitsuharo Inoue, “The House of Hands,” in Kenzaburō Ōe, ed., The Crazy Iris (New York: Grove Press, 1985). 16 . Kenzaburō Ōe, Hiroshima Notes , trans. David L. Swain and Tashi Yonezawa (New York: Grove Press, 1965), 75 and 35. 17 . Treat, Writing Ground Zero , 288–299. 18 . Masuji Ibuse, Black Rain , trans. John Bester (New York: Kadansha International, 1979), 300. 19 . Cathy Caruth, “An Interview with Robert Jay Lifton,” in Caruth, ed., Trauma: Explorations in Memory , 137. 20 . See the memoir of Mieko Hara in Children of Hiroshima, Yoichi Fukushima, ed. (London: Taylor and Francis, 1981), 75; also quoted in John Dower, Notes 167

“The Bombed: Hiroshima and Nagasaki in Japanese Memory,” in Michael J. Hogan, ed., Hiroshima in History and Memory (Cambridge: Cambridge Univ. Press, 1966), 116. 21 . Thierry Jousse, “Entretien avec Akira Kurosawa,” trans. Catherine Cadou, Cahiers du Cinema , 445 (June 1991): 12; quoted in James Goodwin, “Akira Kurosawa and the Atomic Age,” in James Goodwin, ed., Perspectives on Akira Kurosawa (New York: G.K. Hall, 1974), 138. 22 . Unforgettable Fire: Pictures Drawn by Atomic Bomb Survivors . A drawing by Ito Kanichi represents a woman trapped in a collapsed house (28); another by Haruko Ogansawara shows victims with seared flesh (45); one by Tadao Inoue outlines the charred body of a mother and child (63); and another by Masato Yamashita sketches the charred body of a victim (104). All the drawings are by hibakusha. 23 . Treat, Writing Ground Zero , 297. 24 . Ibid., 10. 25 . Lifton, Death in Life , 184; see especially chapter 5, “On Being a Hibakusha.” 26 . Ibid., 175–176. 27 . Kijū (Yoshishige) Yoshida, “My Theory of Film: A Logic of Self-Negation,” trans. Patrick Noonan, Review of Japanese Culture and Society (December 2010): 107. 28 . Adam Bingham, “Stories Written in Sunlight and Water: The Cinema of Yoshida Yoshishige,” Part 2 – “Independence and Independent,” Asian Cinema (Fall/Winter 2010): 281. 29 . Ōe, Notes , 58. 30 . Shibata (126) makes a compelling case for the avoidance of closure in Hiroshima narratives – an argument that applies equally well to film. 31 . See Brian A. Victoria, “Rosy Fukushima Health Report Faulted by Experts,” Japan Times , April 9, 2013, accessed September 20, 2014, http://www.japan- times.co.jp/community/2013/04/09/voices/rosy-fukushima-health-report- faulted-by-experts/#.VB3F3ufgHZs. 32 . At the 2013 annual meeting of the College Association in New York City, Professors Yoshiaku Shimizu and Gennifer Weisenfeld organized a session on “Disaster and Creativity” that featured several speakers on Hiroshima and the echoes of the nuclear disaster in Fukushima. I wish to acknowledge the insights I gained from the presentation by Julia Friedman, “Between Awe and Anger: Young Japanese Artists Respond to Tohoku and Fukushima.” It was in listening to her presentation that I learned about the Chim↑Pom collective. 33 . On Chim↑Pom’s exhibition “Real Times,” see the short video, accessed February 18, 2013, http://www.youtube.com/watch?v=OTqokIecNhs. See also “Art Cannot be Powerless: an interview with Ryuta Ushiro” (a PBS Frontline report on Chim↑Pom based on interviews conducted on May 20 and 30, 2013, accessed September 20, 2014), http://www.pbs.org/wgbh/pages/ frontline/the-atomic-artists/art-cannot-be-powerless. 34 . Emily Taguchi, “Japan’s New Nuclear Generation,” Frontline , July 26, 2011, accessed February 21, 2013, http://www.pbs.org/wgbh/pages/frontline/ the-atomic-artists/emily-taguchi. 35 . Lida Bach, “Nuclear Nation,” Kino-Zeit.de , February 2, 2013, http://www. kino-zeit.de/blog/berlinale/nuclear-nation. 168 Notes

36 . However, in October 2014 Japan re-activated its Sendai nuclear power plant. Prime minister Shinzo Abe favors a return to nuclear power. http:// www.theguardian.com/world/2014/oct/28/japan-nuclear-power-reactors- satsumasendai-fukushima.. 37 . David Elliott, Fukushima: Impacts and Implications (Basingstoke: Palgrave MacMillan, 2013), 80–98. 38 . Hiromitsu Toyosaki, “The World’s Hibakusha,” in The Japan Peace Museum/ Japan Confederation of A- and H-Bomb Sufferers, ed., The Nuclear Century: Voices of the Hibakusha of the World (Tōkyō: Heiwa no Atorie, 1997), 348.

3 Convulsive Memory: The Spanish Civil War and Post-Franco Spain

1 . Robin Adèle Greeley, Surrealism and the Spanish Civil War (New Haven: Yale Univ. Press, 2006), 154–161. 2 . Ibid., 162. 3 . Ibid., 163. 4 . Fernando Arrabal, Fando y Lis, Guernica, La Bicicleta del condenado , Francisco Torres, ed. Monreal (Madrid: Alianza Editorial, 1986), 103–143. 5 . Ibid., footnote 1, 188. 6 . Fernando Arrabal, Carta al General Franco (Madrid: Augur Libros, 2008), 40. 7 . Karl-Wilhelm Kreis, Zur Ästhetik des Obszönen; Arrabals Theater und die repressive Sexualpolitik des Franco-Regimes (Hamburg: Verlag Dr. R. Krämer 1984), 40–42. 8 . L. Alonso Tejada, La represíon sexual en la España de Franco (Barcelona: Luis de Carlat, 1977), 134–136. 9 . Rafael Abela, La vida cotidiana bajo el régimen de Franco (Madrid: Ediciones Temas de Hoy, 1996), 53. 10 . Abela describes the role of the Catholic Church in the Franco years as an “instrumentalization of the Church in the service of the State” (ibid., 242). 11 . Kreis, Zur Ästhetik, 204. As Kreis notes, in fascism “the justification for the sadomasochistic performance even of the sexual act is based on the socially sanctioned erotic fulfillment and assertiveness of the male, at the expense of the female who is denied any sort of self-fulfillment (even sexually), and who is totally subordinated to the concept of the higher calling of reproduction.” The 2006 film El laberinto del fauno (Pan’s Labyrinth) by Guillermo del Toro clearly illustrates this attitude on the part of the fascist protagonist. 12 . André Breton, Anthologie de l’humour noir (Paris: Pauvert, 1966), 12; and Max Ernst, Beyond Painting and Other Writings of the Artist and His Friends (New York: Wittenborn & Schultz, 1948), 16–17. 13 . Geneviève Serreau, “Arrabal,” in Arrabal, El Homre pánico, El Cementerio de automóviles, Ciugrena, Los dos verdugos (Madrid: Taurus Edicíones, 1965), 16. 14 . In his letter to Franco, Arrabal writes about other prisoners he met during his incarceration: a worker condemned to 20 years for trying to start a union; a student who was given three years for the possession of a left-wing publica- tion; a man given six years for swearing that “Spanish people are idiots” when he was involved in a traffic accident; an intellectual imprisoned for 12 years for publishing articles abroad. See Arrabal, Carta , 69. 15 . John Baxter, Buñuel (New York: Carroll & Graf, 1994), 117–122. Notes 169

16 . Ibid., 6–8. 17 . André Breton, Mad Love , trans. Mary Ann Caws (©1937; Lincoln: Univ. Nebraska Press, 1987), 31. 18 . Ibid., 19. 19 . Georges Sadoul in Les Lettres françaises, April 5, 1962; quoted in Luis Buñuel, Viridiana: Scénario et dialogues (Paris: Pierre Lherminier, 1984), 158. 20 . Cordula Rabe, Pedro Almodóvar: Nachfranquistisches Spanien und Film (Alfeld: Coppi-Verlag 1997), 61–62 and 69–73. 21 . Ibid., 38. 22 . Nuria Vidal, El cine de Pedro Almodóvar (Barcelona: Ediciones Destino, 1988), 32. 23 . Marvin D’Lugo, “Almodóvar’s City of Desire,” in Kathleen M. Vernon and Barbara Morris, eds., Post-Franco, Postmodern (Westport, CT: Greenwood Press, 1995), 125. 24 . Marsha Kinder, “Pleasure and the New Spanish Mentality,” Film Quarterly 41, no. 1 (Fall 1987): 41–42. 25 . Ibid., 37. 26 . Vidal, El cine de Pedro Almodóvar , 266–667. 27 . Pedro Almodóvar, “Solo en la plaza,” interview with José-Luis Gallero, in José- Luis Gallero, ed., Sólo se vive una vez: splendor y ruina de la movida madrileña (Madrid: Árdora Ediciones, 1991), 219. 28 . The film was shot in 16 mm but blown up to 35 mm for its commercial run. 29 . On this point, see D’Lugo, “Almodóvar’s City of Desire,” 125–130. 30 . Abela, La vida cotidiana , 334–340.

4 Performative Memory: The Nakba and the Construction of Identity in Palestinian Film

1 . There are approximately six million Palestinians living in the area comprising the current State of Israel, the West Bank, and the Gaza strip; and another six million in the diaspora. 2 . Edward Said, The Question of Palestine (1979; reprint, New York: Vintage, 1992), 176–177. 3 . J.L. Austin, Philosophical Papers, G.J. Warnock, ed. (1979; reprint, Oxford: Oxford Univ. Press, 1992), 182. 4 . Stanley Cavell, Must We Mean What We Say? (1969; reprint, Cambridge: Cambridge Univ. Press, 1982), 20. 5 . James Loxley, Performativity: The New Critical Idiom (London: Routledge, 2007), 32; my italics. 6 . Homi K. Bhabha, Nation and Narration (London: Routledge, 1990), 2–4. 7 . Paul Ricoeur, La Mémoire, l’histoire, l’oubli (Paris: Editions du Seuil, 2000), 97–99. Note that Ricoeur does not distinguish between collective memory (memories transmitted orally from one generation to another) and cultural memory (memories that are “mediatized” in various forms). 8 . Ibid., 104. 9 . Iwona Irwin-Zarecka, Frames of Remembrance: The Dynamics of Collective Memory (New Brunswick, NJ: Transaction Press, 1994), 7–8. 170 Notes

10 . Ibid., 67. 11 . Edward Said, After the Last Sky: Palestinian Lives (London: Faber and Faber, 1986), 108. 12 . Hamid Naficy provides a table of the characteristics of what he has named “accented cinema” in Hamid Naficy, An Accented Cinema: Exilic and Diasporic Filmmaking (Princeton: Princeton Univ. Press, 2001), 289–292. 13 . Michel Khleifi in Hamid Dabayashi, ed., Dreams of a Nation: On Palestinian Cinema (London: Verso, 2006), 49. 14 . Ma’loul Commemorates its Destruction is widely distributed in the DVD package of his award-winning feature made in 1987, Wedding in Galilee. 15 . Khleifi in Dabayashi, ed., Dreams of a Nation , 52. 16 . Said, The Question of Palestine , 120. 17 . Said, After the Last Sky , 100. 18 . R. Emmet Sweeney, Review of The Color of Olives. The Village Voice, July 4, 2006, http://www.villagevoice.com/2006–07–04/film/the-color-of-olives/. 19 . Said, After the Last Sky 38. 20 . Ibid., 129. 21 . From the poem “The Path of Affection” by Laila ’Allush, in Nathalie Handal, The Poetry of Arab Women: A Contemporary Anthology (New York: Interlink Press, 2001), 78–79. 22 . Ghassan Kanafani, Retour à Haifa et autres nouvelles , trans. Jocelyne and Abdellatif Laabi (Arles: Actes Sud, 1997), 123. Men in the Sun and Other Palestinian Stories, trans. Hilary Kilpatrick (Boulder, CO: Lynne Rienner, 1999), 123. 23 . Mahmud Darwish, La Palestine comme métaphore. Entretiens (1995; reprint, Arles: Sindbad, 1997), 17–18. 24 . Nurith Gertz and George Khleifi, Palestinian Cinema: Landscape, Trauma, Memory (Bloomington: Indiana Univ. Press, 2008), 173. 25 . Gaston Bachelard, The Poetics of Space (1957; reprint, Boston: Beacon Press, 1994), 6–7. 26 . Nadia Yuqub, “Narrating the Nakba: Palestinian Filmmakers Revisit 1948,” in Dina Matar and Zahara Harb, eds., Narrating Conflict in the Middle East: discourse, image, and communications practices in Lebanon and Palestine (London: I.B. Tauris, 2013) 228–231. 27 . Haim Bresheeth, “The Continuity of Trauma and Struggle: Recent Cinematic Representations of the Nakba,” in Ahmad H. Sa’di and Lila Abu-Lughod, eds., Nakba: Palestine, 1948, and the Claims of Memory (New York: Columbia Univ. Press, 2007), 161–187. 28 . See, for instance, the budget breakdown for Wedding in Galilee (which opened in France in 1987) in Naficy, An Accented Cinema , 294; 60 percent of the budget was contributed by France and the remainder by Belgium. 29 . Ehab Zahriyeh, “‘Omar’ a Rare Palestinian Feature Film at the Oscars,” Al Jazeera America , February 21, 2014, http://america.aljazeera.com/ articles/2014/2/21/omar-a-rare-palestinianfilmattheoscars.html. 30 . Shashat was founded by Alia Arasoughly, an exilic filmmaker and producer, upon her return to Ramallah. See Alia Arasoughly, “Film Education in Palestine Post-Oslo: The Experience of Shashat,” in Mette Hjort, ed., The Education of the Filmmaker in Africa, the Middle East, and the Americas (London: Palgrave Macmillan, 2013), 99–124. Notes 171

31 . Hanan Mikhail Ashrawi, “The Politics of Cultural Revival,” in Michael C. Hudson, ed., The Palestinians: New Directions (Washington, DC: Center for Contemporary Arab Studies, 1990), 77–78. 32 . Stuart Hall, “Cultural Identity and Diaspora,” in J. Rutherford, ed., Identity: Community, Culture, Difference (London: Lawrence & Wishart, 1998), 222. 33 . David Grossman, Death as a Way of Life: Israel Ten Years after Oslo , trans. Haim Watzman (New York: Farrar Straus and Giroux, 2003). 34 . Darwish, La Palestine comme métaphore , 31.

5 Radical Memory: Négritude, Anti-colonial Struggles, and Cabral’s Return to the Source

1 . Aimé Césaire, Notebook of a Return to the Native Land, trans. and ed. Clayton Eshleman and Annette Smith (Middletown, CT: Wesleyan Univ. Press, 2001), 35. 2 . The letter of prohibition is published in the reprint of Tropiques , vol. 1 (Paris: Jean-Michel Place, 1978), xxxvii–xxxviii. 3 . Césaire, Notebook , 36. 4 . “Réponse de Tropiques ,” dated May 12, 1943; reprinted in Tropiques , vol. 1, xix. 5 . Aimé Césaire interviewed by Euzhan Palcy, Une voix pour l’histoire: Aimé Césaire (JMJ Productions, 2006) DVD, disc no. 2, 17’37.” 6 . Césaire, Notebook, 44. 7 . André Breton, “Martinique charmeuse de serpents: Un grand poète noir,” Tropiques 11 (May 1944); reprinted in Tropiques 2:120–121 (Paris: Jean-Michel Place, 1978). 8 . André Breton, Manifestes du surréalisme (Paris: Gallimard, 1979), 49. 9 . The first two images are from the poems “Avis de tirs” and “Batouque,” which appear in Aimé Césaire, Les Armes miraculeuses (Paris: Gallimard, 1946). 10 . Suzanne Césaire, “1943: Le Surréalisme et nous,” Tropiques 8–9 (October 1943); reprinted in Tropiques 2:18. 11 . “La Révolution d’abord et toujours!,” in Maurice Nadeau, Documents surréal- istes (Paris: Seuil, 1948), 37–41. 12 . “Ne visitez pas l’exposition coloniale,” in Nadeau, Documents surréalistes , 181–183. 13 . Franklin Rosement, “Notes on Surrealism as a Revolution against Whiteness,” Race Traitor 9 (Summer 1998), 25. 14 . James Clifford, The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge: Harvard Univ. Press, 1988), 132–133. 15 . Jean-Paul Sartre, “Black Orpheus,” in Chris Turner, trans., Situations III (Calcutta: Seagull Books, 2008), 295–296. 16 . Ibid., 320. 17 . F. Abiola Irele, The Negritude Moment: Explorations in Francophone African and Caribbean Literature and Thought (Trenton, NJ: Africa World Press, 2011), 150. 18 . Ibid., 140–145. 19 . Aimé Césaire interviewed by Euzhan Palcy, Aimé Césaire: Une voix pour l’histoire, DVD, disc 2, 21’- 22.’ 172 Notes

20 . Frantz Fanon, The Wretched of the Earth , trans. Constance Farrington (New York: Grove Press, 1963), 46–47. 21 . Ibid., 191. 22 . Ibid., 233. 23 . At the moment, this film is only available on VHS from Arab Film Distribution. 24 . Ali Akikam “Où en sommes-nous?” Cahiers du Cinéma 277 (1976): 30–37. 25 . Mohamed Lakhdar-Hamina interview with Guy Allembert, “Chronique des années de braise,” La Revue du cinema 300 (1975): 24. 26 . Ibid., 26. 27 . This is another example of surrealism, which, according to Michael Löwy, “re-enchants the world.” See Michael Löwy, L’Étoile du matin: surréalisme et marxisme (Paris: Éditions Syllepse, 2000), 9. 28 . See “Hors-la-loi: insulte à l’armée,” Le Figaro , May 21, 2010, accessed September 22, 2014, http://www.lefigaro.fr/flash-actu/2010/05/21/97001– 20100521FILWWW00745-hors-la-loi-insulte-permanente-a-l-armee.php. 29 . Roger Ebert, “Outside the Law: The Algerian War Seen from the Other Side,” Chicago Sun-Times, November 13, 2010, accessed September 22, 2014, http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20101123/ REVIEWS/101129994/1023. 30 . For an enlightening discussion on the role of the “veil” in Algerian culture and in the revolution, see Frantz Fanon’s chapter,“Algeria Unveiled,” in Haakon Chevalier, trans., Studies in a Dying Colonialism (1959; reprint, London: Earthscan Publications, 1989), 35–67. 31 . Benjamin Stora, “Hors-la-loi: enjeux secondaires et enjeux reels,” Cahiers du cinéma 660 (October 2010): 90. 32 . “‘Kreuzzug’ in Cannes gegen Algerien-Film ‘Hors la Loi,’” DiePresse.com, May 3, 2010, accessed September 22, 2014, http://diepresse.com/home/kultur/ film/562433/Kreuzzug-in-Cannes-gegen-AlgerienFilm-Hors-la-loi?_vl_back- link=/home/kultur/film/index.do. 33 . Alistair Horne, “Preface to the 2006 Edition,” A Savage War of Peace (New York: New York Review Books, 2006), 13–17. 34 . Ali Jaafar, “Algeria Rising,” Sight and Sound 21, no. 6 (2011): 38–40. 35 . Michael Rothberg, Multidirectional Memory (Stanford: Stanford Univ. Press, 2009), 229. 36 . Fanon, The Wretched of the Earth , 210. 37 . Wole Soyinka, Art, Dialogue and Outrage: Essays on Literature and Culture (Ibadan, Nigeria: New Horn Press, 1988). 38 . Ibid., 185. 39 . F. Abiola Irele, “The Political Kingdom: Toward Reconstruction in Africa,” Socialism and Democracy 21, no. 3 (November 2007): 5–35. 40 . Ousmane Sembene, Vehi-Ciosane ou Blanche-Genèse, suivi du Mandat (Vienna: Présence africaine, 1965), 16. 41 . Amilcar Cabral, Return to the Source: Selected Speeches by Amilcar Cabral , Africa Information Service, ed. (New York: Monthly Review Press, 1973), 66–68. 42 . Soyinka, Art, Dialogue and Outrage , 187. 43 . Ousmane Sembene, God’s Bits of Wood , trans. Francis Price (© 1960; Botswana: Heinemann Educational Publishers, 1995), 89 (amended translation). 44 . Ibid., 87 (amended translation). Notes 173

45 . Ousmane Sembene, Les Bouts de bois de Dieu (Le Livre contemporain, 1960), 124. 46 . God’s Bits of Wood , trans. Francis Price, 184 (amended translation). 47 . Ibid., 177–178. 48 . Ibid., 183. One of Sembene’s heroes was Samori Touré (1830–1900), who fought against the French in West Africa until his capture in 1898. 49 . Sembene, Les Bouts de bois de Dieu , 184–185 and 346. N’Deye Touti’s transfor- mation is described in Antoine Makonka, Les Bouts de bois de Dieu de Ousmane Sembene (Paris: Fernand Nathan, 1985), 38. 50 . For a discussion of the role of women in Sembene’s other films, see Sheila Petty, “Towards a Changing Africa: Women’s Roles in the Films of Ousmane Sembene,” in Sheila Petty, ed., A Call to Action: The Films of Ousmane Sembene (Westport, CT: Praeger, 1996), 67–86. 51 . Ousmane Sembene interview with Daniel Graham, “Sembene: Portrait of a Filmmaker,” Moolaadé (New Yorker Film, 2004), DVD. 52 . Samba Gadjigo, Ousmane Sembene , trans. Moustapha Diop (Bloomington: Indiana Univ. Press, 2010), 131; Sembene compares himself to a griot in his “address to the reader” on the first page of his novel L’Harmattan (Paris: Présence Africaine, 1964). 53 . See Philip Rosen, “Notes on Art Cinema and the Emergence of Sub-Saharan Film,” in Rosalind Galt and Karl Schoonover, eds., Global Art Cinema: New Theories and Histories (Oxford: Oxford Univ. Press, 2010), 257; and Manthia Diawara, African Cinema: Politics and Culture (Bloomington: Indiana Univ. Press, 1992). 54 . Amy Borden, “At the Global Market: Ousmane Sembene’s Moolaadé and the Economics of Women’s Rights,” Jump Cut no. 53 (Summer 2011): http:// www.ejumpcut.org/archive/jc53.2011/bordenMoolade/index.html. 55 . Ibid. 56 . Clyde Taylor, The Mask of Art: Breaking the Aesthetic Contract – Film and Literature (Bloomington: Indiana Univ. Press, 1998), 275. See also Inez Hedges, “Signifiyin’ and Intertextuality: Killer of Sheep and Black Independent Film,” Socialism and Democracy 42 (2007): 133–143. 57 . Julie Dash, in an interview with Zeinabu Irene Davis, Black Film Review 6, 1 (1992), 12–17. 58 . Julia Erhart, “Picturing What If: Julie Dash’s Speculative Fiction,” Camera Obscura: Feminism, Culture, and Media Studies 13, no. 2 (1996): 129. 59 . Taylor, The Mask of Art , 280. 60 . In the published screenplay, Viola mentions Orisha nicknames: Shango, Obatala, Oya-yansa, Yemonja, Eshu Elegin. See Julie Dash, Daughters of the Dust: The Making of an African American Woman’s Film (New York: The New Press, 1992), 139. Dash indicates the corresponding Orisha deity for her char- acters with annotations throughout the screenplay (75–76, 99, and 107). 61 . Sandra Grayson, Reading Sankofa, Daughters of the Dust, & Eve’s Bayou as Histories (New York: Univ. Press of America, 2000), 43. 62 . Charles Burnett, “Inner City Blues,” in Jim Pines and Paul Willemen, eds., Questions of Third Cinema (London: British Film Institute, 1989), 224–225. 63 . Stuart Hall, “Cultural Identity and Cinematic Representation,” in Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg, eds., Black British Cultural Studies (Chicago: Univ. of Chicago Press, 1996), 213. 174 Notes

6 Obstinate Memory: Chris Marker’s and Patricio Guzmán’s Pictures for a Revolution

1 . Augusto Pinochet, television interview, 1995 (quoted by Adriana Rivas, Truthout , June 21, 2014). 2 . Victor Wallis, “Battle of Chile: Struggle of a People without Arms,” Jump Cut 21 (November 1979), http://www.ejumpcut.org/archive/onlinessays/ JC21folder/BatChileWallis.html. 3 . Victor Wallis, “Battle of Chile: Struggle of a People without Arms,” Jump Cut 52 (2010), http://www.ejumpcut.org/archive/jc52.2010/wallaceBattle- ofChile/index.html. 4 . In Allende’s own words, “Trabajadores de mi Patria, tengo fe en Chile y su destino. Superarán otros hombres este momento gris y amargo en el que la traición pretende imponerse. Sigan ustedes sabiendo que, mucho más temprano que tarde, de nuevo se abrirán las grandes alamedas por donde pase el hombre libre, para construir una sociedad mejor.” http://www.salva- dor-allende.cl/Discursos/1973/despedida.pdf 5 . The title derives from the French expression “le fond de l’air est froid,” which describes a warm day in which there is an undercurrent of cold in the air. 6 . Barbara Filser, Chris Marker und the Ungewissheit der Bilder (Munich: Wilhelm Fink, 2010), 228. 7 . Ursula Langmann, “Das geträumte Geschichtsbuch,” CICIM 8, special issue on Chris Marker (July 1984): 42–44. 8 . Filser, Chris Marker , 242. 9 . Ibid., 226–227 and footnote 34. 10 . Ibid., 254–255. 11 . Ibid., 253. 12 . Chris Marker, Le Fond de l’air est rouge (Paris: François Maspero, 1978), 20. 13 . Filser, Chris Marker , 285. 14 . “Table ronde sur Le Fond de l’air est rouge,” Cahiers du cinéma 284 (January 1978): 47. 15 . Ibid., 47–51. 16 . George Katsiaficas, The Imagination of the New Left: A Global Analysis of 1968 (Boston: South End Press, 1987), 87–89. 17 . Daniel Singer, Pr elude to Revolution: France in May 1968 (New York: Hill and Wang, 1970), 8. 18 . Ibid., 30. 19 . “Table ronde sur Le fond de l’air est rouge ,” 48 and 50. 20 . Filser, Chris Marker , 455–465. 21 . Ibid., 292–293. 22 . Herbert Marcuse, Eros and Civilization: A Philosophical Inquiry into Freud (Boston: Beacon Press, 1956), 148–149. 23 . Ibid., 149. 24 . Walter Benjamin, “Surrealism: The Last Snapshot of the European Intelligentsia,” in Selected Writings vol. 2 (1927–1934), Michael W. Jennings, ed. (Cambridge: Harvard University Press, 1999), 216–217. Benjamin is commenting here on Pierre Naville’s 1926 La Révolution et les intellectuels . 25 . Marcuse, Eros and Civilization , 172. Notes 175

26 . Nelly Richard, “La memoria obstinada (1996) de Patricio Guzmán,” Revista de Critica Cultural 15 (November): 56; quoted in Jorge Ruffinelli, Patricio Guzmán (Madrid: Filmoteca Española, 2001), 300. 27 . Salvador Allende, “A los artistas del mundo,” Archivo Fundacíon Salvador Allende, reproduced in Manuel Pérez-Lizano Forns, Aragón y el Museo de la Solidaridad Salvador Allende, Cuadernos de Cultura Aragonesa 54 (Zaragoza: Rolde de Estudios Aragoneses, 2011): 28–29. 28 . Manuel García, “Breve historia de un museo,” Archivos Salvador Allende, consulted September 22, 2014, http://www.salvador-allende.cl/museo/breve. pdf. 29 . Forns, Aragón y el Museo de la Solidaridad Salvador Allende, Cuadernos de Cultura Aragonesa , 46–47. 30 . José Balmes, “Historia de un museo,” in Homenaje y memoria: centenario Salvador Allende, Obras del Museo de la Solidaridad (Santiago: Museo de la Solidaridad Salvador Allende, 2008), 53–57. 31 . See Carlos Altamirano, Obra completa (Santiago: Museo Nacional de Bellas Artes, 2007), 24–57. 32 . Alberto Madrid, “Panorama,” in ibid., 22 footnote no. 2.

7 Productive Memory: “Forward Dreaming” in Tomás Gutiérrez Alea’s Cuban Films

1 . See Mayra Espina Prieto, “Looking at Cuba Today: Four Assumptions and Six Intertwined Problems,” Socialism and Democracy 21, no. 1 (2010; special issue, Cuban Perspectives on Cuban Socialism): 95–107. 2 . See “Forward Dream, Sobriety, Enthusiasm and Their Unity,” in Ernst Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight (Cambridge: MIT Press, 1996), 1385. 3 . Ernst Fischer, “Productive Memory,” from Art against Ideology, excerpted in Marxism and Art , Maynard Solomon, ed. (Detroit: Wayne State Univ. Press, 1973), 272. 4 . Tomás Gutiérrez Alea, “Otro Cine, Otro Mundo, Otra Sociedad” (address to the Association of Third World Studies in 1993), in Tomás Gutiérrez Alea, Volver sobre mis pasos, ed. Mirta Ibarra (Madrid: Ediciones Autor, 2007), 338. 5 . Julio Garciá Espinosa, “For an Imperfect Cinema,” trans. Julianne Burton, Jump Cut 20 (1979): 24–26. 6 . Alea, “Otro Cine, Otro Mundo, Otra Sociedad,” in Alea, Volver sobre mis pasos , 340. 7 . Tomás Gutiérrez Alea, Dialéctica del Espectador (Havana: Escuela Internacional de Cine y TV, 2009), 47. See also Tomás Gutierrez Alea, Dialectica del Espectador. The Viewer’s Dialectic, trans. Julia Lesage (Havana: Casa de las Americas, 1989). Originally published in Jump Cu t, nos. 29, 30, 31 (1984–1987): www. ejumpcut.org. 8 . Alea, “Otro Cine, Otro Mundo, Otra Sociedad,” in Alea, Volver sobre mis pasos , 338. 9 . Michael Chanan, Cuban Cinema (Minneapolis: Univ. of Minnesota Press, 2004), 405. 176 Notes

10 . Tomás Gutiérrez Alea, interview with the author, Havana 1993. 11 . Tomás Gutiérrez Alea, “Memorias de Memorias,” in Dialéctica del Espectador , 112. 12 . Ibid., 114. 13 . Ibid., 104–105. 14 . Mirta Ibarra, “Su vida en mi memoria,” in Alea, Volver sobre mis pasos , 381. 15 . Chanan, Cuban Cinema , 12. 16 . I am grateful to Rainer Schultz for this insight. 17 . Tomás Gutierrez Alea, 1993, interview with the author. 18 . My colleague and renowned Cuban scholar Alan West-Durán has generously supplied me with the information about the images and artifacts on the walls of Diego’s apartment. 19 . Contemporary Literary Criticism, ©1997 Gale Cengage, http://www.enotes. com/jose-lezama-lima-criticism/lima-jose-lezama. 20 . Kevin Floyd, “The Importance of Being Childish: Queer Utopians and Historical Contradiction,” in Joseph G. Ramsey, ed., Works and Days: Cultural Logic , 30 (2012): 333. 21 . Senel Paz, El Lobo, El Bosque, y El Hombre Nuevo (Santi Spíritus, Cuba: Ediciones Luminarias, 2011). 22 . Ibarra, “Su vida en mi memoria,” 389. 23 . “Seleccíon de Cine,” Revolucíon , December 17, 1963, quoted in Polémicas culturales de los 60, ed. Grazeille Poglotti (Havana: Editorial Letras Cubanas, 2006), 160–163. 24 . Bloch , The Principle of Hope , 1365–1373 passim. 25 . Juan Carlos Tabío, interview, Lista de Espera (Coyoacán, Mexico: Zafra Video, 2007), DVD. 26 . Tomás Gutiérrez Alea, “Los Sobrevivientes,” in José Antonio Évora, Tomás Gutiérrez Alea (Madrid: Ediciones Cátedra, 1996), 47. 27 . Walter Benjamin, “Surrealism: The Last Snapshot of the European Intelligentsia,” in Walter Benjamin, Selected Writings, vol. 2 (1927–1934), trans. Rodney Livingstone et al. (Cambridge: Harvard Univ. Press, 1999), 215. 28 . Bloch, The Principle of Hope , 1375–1376.

8 Reclaimed Memory: Worker Culture in the Former GDR and Peter Weiss’s The Aesthetics of Resistance

1 . Peter Weiss, Die Ästhetik des Widerstands, 3 vols. bound as one. (Frankfurt am Main: Suhrkamp, 1988). The first volume was made available in English translation in 2005 with a foreword by Fredric Jameson. See Peter Weiss, The Aesthetics of Resistance, trans. Joachim Neugroschel (Durham: Duke Univ. Press, 2005). Page numbers within the above text refer to this edition. 2 . Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale Univ. Press, 1979); and Edward Saïd, Culture and Imperialism (New York: Knopf, 1994). 3 . Weiss, The Aesthetics of Resistance , 136. 4 . Weiss, Die Ästhetik des Widerstands , 239. Notes 177

5 . See the glossary by Robert Cohen at the back of the English translation of vol. 1. 6 . Die Ästhetik des Widerstands , vol. 3, 239 and 236. 7 . The glossary by Robert Cohen identifies Hans Coppi (1916–1942) as a German worker who was imprisoned for a year for distributing anti-Nazi leaf- lets; in 1941, he became a radio operator for the resistance group led by Harro Schulze-Boysen. He was arrested in Berlin and executed on December 22, 1942. Executed on the same day, Horst Heilmann (1923–1942) had joined the resistance group in 1941. He was a volunteer for the German army, deci- phering Allied documents and secretly passing them on to Schulze-Boysen. 8 . A useful diagram of the friezes as well as several good photographs are supplied in Max Kunze, Der grosse Marmoraltar von Pergamon: seine Wiederentdeckung, Geschichte und Rekonstruktion (Berlin: Staatliche Museum zu Berlin Antikensammlung, 1988). The book’s front matter includes a quotation from Weiss. 9 . Weiss, The Aesthetics of Resistance , 44. 10 . Weiss, Die Ästhetik des Widerstands , 293. 11 . See John Fuegi, Brecht & Co.: Sex, Politics, and the Making of the Modern Drama (New York: Grove Press, 1994). 12 . Volker Braun, “Die Erfahrung der Freiheit,” in Wir befinden us soweit wohl, wir sind erst einmal am Ende: Äusserungen (Frankfurt am Main: Suhrkamp, 1998), 18. 13 . Ibid., 100. 14 . Braun, “Ein Ort für Peter Weiss,” 168. 15 . Ibid., 170–171. 16 . Braun, “Leipziger Vorlesung,” 36. 17 . W.G. Sebald, “The Remorse of the Heart: On Memory and Cruelty in the Work of Peter Weiss,” in On the Natural History of Destruction (New York: Modern Library, 2004), 191. 18 . Weiss, Die Ästhetik des Widerstands , vol. 3, 206. 19 . Brecht’s influence in focusing on the concerns of workers remained strong in the West as well. For instance, in 1976 the West German painter Jörg Immendorf created a “Brecht series” that illustrated the “questions of a worker, reading.” In Immendorf’s representation, the worker is actually tearing the pages out of the book, while the accompanying text notes that history books ignore the workers who actually built the triumphal arches and the imperial residences of kings and who peopled the armies of the conquerors. 20 . See Werner Hecht, Die Mühen der Ebenen: Brecht und die DDR (Berlin: Aufbau, 2013), 82–108. 21 . Werner Hecht points out that the issue was so politicized that party members feared for their careers. See ibid., 137. 22 . Inez Hedges, Framing Faust: 20th-Century Cultural Struggles (Carbondale: Southern Illinois Univ. Press, 2005), 84–91. 23 . Christa Wolf, Der geteilte Himmel (1963; reprint, München: Deutscher Taschenbuch Verlag, 1987), 21. 24 . The protagonist of Christian Petzold’s more recent film Barbara (2012) makes a similar choice. Offered the chance by her Western partner to escape to the West where he tells her she will not have to work anymore, she decides that her medical practice in the GDR is more important to her. 178 Notes

25 . Klaus Finke, Politik und Film in der DDR (Oldenburg: Bis Verlag, 2007), 806. 26 . See Barton Byg, “What Might Have Been: DEFA Films of the Past and the Future of German Cinema,” Cineaste 4 (1990): 9–15. 27 . Dietrich Löffler, Buch und Lesen in der DDR: ein literatursoziologische Rückblick (Berlin: Ch. Links Verlag, 2011), 85. 28 . Finke, Politik und Film, 805, footnote 2114. The quote comes from Christa Wolf, “Errinerungsbericht,” in Günter Agde, ed., Kahlschlag: Das 11. Plenum des ZK der SED 1965. Studien und Dokumente (Berlin: Aufbau Taschenbuch Verlag, 1991), 269. 29 . For an extensive discussion of the Bitterfelder project, see Löeffler, Buch und Lesen in der DDR , 83–95. 30 . See Peter Weiss, Notizbücher 1971 –1980 , vol. 2 (Frankfurt am Main: Suhrkamp, 1981), 758–759. 31 . In 1997 Koepp followed up with yet another installment, Wittstock Wittstock . 32 . Heiner Müller, “Krieg ohne Schlacht: Leben in zwei Diktaturen – eine Autobiographie,” in Christoph Rüter, Die Zeit ist aus den Fugen (Frankfurt am Main: Filmedition Suhrkamp, 2009), pamphlet accompanying DVD, 32. 33 . Heiner Müller interview with Alexander Kluge, in Rüter, Die Zeit ist aus den Fugen , DVD. 34 . Ibid. 35 . Paul Cooke, Representing East Germany since Unification: From Colonization to Nostalgia (Oxford: Berg, 2005), 132. 36 . Sophie Calle, The Detachment/Die Entfernung (Berlin: Galerie Arndt, 1996). 37 . Ibid., 8–9. 38 . Fredric Jameson, “Foreword: A Monument to Radical Instants,” in Weiss, Aesthetics of Resistance , vii–viii. 39 . For a full discussion of this debate, see Andreas Huyssen, “After the Wall: The Failure of German Intellectuals,” in Twilight Memories: Marking Time in a Culture of Amnesia (New York: Routledge, 1995), 51–66. 40 . Ibid., 52. 41 . Amilcar Cabral, “National Liberation and Culture,” in Amilcar Cabral, Return to the Source: Selected Speeches by Amilcar Cabral (New York: Monthly Review Press, 1973), 39.

Conclusion

1 . Cathy Caruth, “Introduction,” in Cathy Caruth, ed., Trauma: Explorations in Memory (Baltimore: The Johns Hopkins Univ. Press, 1995), 6–7. 2 . Holland Cotter, “The 9.11 Story Told at Bedrock, Powerful as Punch to the Gut,” New York Times , May 14, 2014, 1–20. 3 . Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford Univ. Press, 2009). 4 . Jan Assmann, “Communicative and Cultural Memory,” in Astrid Erll and Ansgar Nünning, A Companion to Cultural Memory Studies (Berlin: De Gruyter, 2010), 113. 5 . Aleida Assmann, “Memory, Individual and Collective,” in Robert E. Goodin and Charles Tilly, The Oxford Handbook of Contextual Political Analysis (Oxford: Oxford Univ. Press, 2006), 221. Notes 179

6 . Jan Assmann, “Communicative and Cultural Memory,” 114. 7 . As Aleida Assmann puts it: “Data that are to be conserved can no longer be conserved in a state of stasis, but must undertake an endless journey, like reincarnated souls, to be reimbodied in an endless succession of data-car- riers.” Aleida Assmann, Cultural Heritage and Western Civilization: Functions, Media Archives (Cambridge: Cambridge Univ. Press, 2011), 340. 8 . For instance, after this book went into production, I discovered the essay on South African film by Jeremy Maron that uses the performative in a way that resembles my discussion of Palestinian film in Chapter 4. See Jeremy Maron, “National Reconciliation and Its Performative Limitations: John Boorman’s In My Country and Fanta Régina Nacro’s Night of Truth,” Ciné-action 76 (2009): 6–13. 9 . Anne Michaels, “Miner’s Pond,” in The Weight of Oranges/Miner’s Pond (Toronto: McLelland and Stewart, 1991), 59. Bibliography

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Abu-Assad, Hani Artaud, Antonin, 52 Omar, 81 Ashrawi, Hanan Mikhail, 82 Paradise Now, 81 Assmann, Aleida, 3, 5, 156 Rana’s Wedding, 74 Assmann, Jan, 3, 156–7 Agawa, Hiroyuki Atomic Bomb Casualties Commission, The Devil’s Heritage, 33 31 Algerian war of independence, 88–95 Auschwitz, 21, 29 massacre at Charonne metro station Austin, J. L., 66, 79 in Paris, 110 Aljafari, Kamal, 6, 68 Bachelard, Gaston, 76–7 The Port of Memory, 79 Bataille, Georges, 87 The Roof, 79 Baudrillard, Jean, 31 Allende, Salvador, 8, 107–9, 114–16, 120 Bay of Pigs invasion, 127–8 Museum of Resistance and Museum Baxter, John, 56–7 of Solidarity Salvador Allende, Becker, Wolfgang 121, 157 Goodbye Lenin, 151 ‘Allush, Laila, 77 Benjamin, Walter, 8, 21, 34, 114, 138, Almodóvar, Pedro, 7, 52, 58–64 157 All About My Mother, 59–62 Beyer, Frank High Heels, 59 Trace of Stones, 147–8 Law of Desire, 61–2 Bhabha, Homi K., 66 Matador, 61–2 Bikini Islands H-bomb test, 32, 34 Pepi, Luci, Bom, 61 Bingham, Adam, 46 Talk to Her, 59 black humor, 54 What Have I Done to Deserve This?, and “esperpento,” 64 60–3 prize awarded to Buñuel, 57 Women on the Verge of a Nervous Bloch, Ernst, 3, 8, 113, 124, 136, 138, Breakdown, 59–60 158 Altamirano, Carlos Blum, René, 29 artist of the Allende memorial, Bluwal, Marcel 121–2 Le Plus beau pays du monde, 15 amnesia, 6, 60 Borden, Amy, 102 “amnesiac memory,” 7, 31–49, 158 Bordwell, David, 5 Anders, Günther, 166n. 14 Bouchareb, Rachid Andrew, Dudley, 5 Outside the Law, 89, 92–5 Arasoughly, Alia, 68, 82, 170n. 30 Braun, Volker, 143 Birth at Checkpoint, 75 Hinze und Kunze, 146 This Is Not Living, 74–6 Brecht, Bertolt, 36–7, 143 archives, 1–2, 157 before HUAC, 145 Aristotle, 3 career in the GDR, 145–6 Arrabal, Fernando, 7 The Trial of Lucullus, 145–6 Guernica play, 51–2 Bremen uprising of 1918, 140 The Guernica Tree, 53–5, 64 Bresheeth, Haim, 80

185 186 Index

Breton, André, 7, 52, 54 Conan, Éric, 12–13 on Césaire, 85 “convulsive memory,” 7, 50–64, 158 Manifesto of Surrealism, 57–8, Cuban missile crisis, 127–8 85–6, 113 Cuban revolution, 125–8, 130, 157 Buck-Morss, Susan, 21 Buñuel, Luis, 7, 8, 51–2, 55–8, 64, Dalí, Salvador, 55–6 128, 135 Damas, Léon, 84 L’Age d’or, 55, 58, 132 Darwisch, Mahmud, 78, 82 Viridiana, 55–8 Dash, Julie, 102 Burch, Noel, 36 Daughters of the Dust, 103–6 Burnett, Charles, 102, 105 Davidson, Eron Roadmap to Apartheid, 75 Cabral, Amilcar, 8, 96, 153 Debray, Régis, 109 Cahiers du cinéma debate about deportations of Jews from France, 1, Marker’s Le Fond de l’air est rouge, 11–13, 95, 156 111–12 Des Pallières, Arnaud Calef, Noël Drancy avenir, 20 Drancy la faim, 24–5 desaparecidos, 117–18, 120 Calle, Sophie Desnoes, Edmondo The Detachment, 151–2 Memories of Underdevelopment, 127 Campbell, Hayden Didi-Huberman, Georges, 18 The Zoo, 75 D’Lugo, Marvin, 59 Caruth, Cathy, 6, 34 Drancy, 6, 13, 16–30, 95 Catholic Church in colonial era in Cuba, 128 Ehrhart, Julia, 104 under Franco, 52, 54 Eisenstein, Sergei, 110, 123 Cavell, Stanley, 66 montage theory of, 18, 21 censorship Ernst, Max, 54 of Brecht and Hanns Eisler in the GDR, 146 Fanon, Franz, 88–90, 95 of Buñuel’s L’Age d’or, 55 Fargier, Jean-Paul, 111 during German occupation of Federman, Raymond, 30 France, 16, 84 Double or Nothing, 23–4, 164n. 31 of film in the GDR, 147 Filser, Barbara, 109–13 in Spain during the Franco regime, Finkielkraut, Alain, 17 51–2, 56–7, 63 Floyd, Kevin, 134 by United States after Hiroshima, Foucault, Michel, 1–2, 5 31–3, 165nn. 3, 6 Franco, Francisco, 7, 10 Césaire, Aimé, 84–6, 89, 102 Franco regime, 51, 55–64, 121 Césaire, Suzanne, 84–6 French concentration camps, 19 Chanan, Michael, 126, 129 Friedman, Julia, 167n. 32 Chim↑Pom, 48 Fuegi, John, 143 Clairval, Cécile, 5 Fukushima, 43, 47–8 Drancy, Last Stage Before the Abyss, 18, 26 García Espinosa, Julio, 123–4 collective memory, 2–3, 67 García Lorca, Federico, 51 contrasted with cultural memory, 3 Gayssot Act (France), 9 colonialism, French exhibition GDR (German Democratic Republic), of, 157 9, 145–9 Index 187 genocide History (contrasted with memory), Armenian, 9 1, 4 Guatemalan, 9 Holocaust, 3, 6, 9, 17, 23, 157–8, see Géricault, Théodore, 140 also Shoah Gerima, Haile, 102 Holt, Willy, 29–30 German occupation of France, 1, 16, Huyssen, Andreas, 2–5, 8, 152–3 see also censorship Gertz, Nurith, 74 Ibarra, Mirta, 135 Goethe, Johann Wolfgang von Ibuse, Masuji Faust, 145 Black Rain, 38–40 Goya, Francisco, 51, 55, 64 identification (of a film spectator Gramsci, Antonio, 114 with a character), 4, 35, 125 Grayson, Sandra, 104 Imamura, Shohei griot, 91, 101–2 Black Rain, 33–4, 38–43 Grossman, David Immendorf, Jörg, artist of “Brecht Death as a Way of Life, 82 series,” 177n. 19 Gutiérrez Alea, Tomás, 9, 123–35 imperfect cinema, 124–6 Death of a Bureaucrat, 129–30 “instrumental memory,” 67, 84 Guantanamera, 130–3 Intertextuality The Last Supper, 129 in Almodóvar’s films, 60–3 Memories of Underdevelopment, in Bouchareb’s Outside the Law, 95 127–8, 130 in Des Pallières’ Drancy avenir, 20 Strawberry and Chocolate, 133–5 in Gutiérrez Alea’s films, 125, 130, “The Survivors,”137 132–4 “The Twelve Chairs,” 137 in Guzmán’s Nostalgia for the Light, “Up to a Point,” 126 119–20 The Viewer’s Dialectic, 125 in Juan Carlos Tabío’s Waiting Guzmán, Patricio, 6, 8 List, 135 The Battle of Chile, 107–8, 116 intifada, 8, 67, 113 Chile, the Obstinate Memory, Irele, F. Abiola, 96 107, 114–17 Irwin-Zarecka, Iwona, 67 Nostalgia for the Light, 108–9, Israeli Information Center for Human 117–19 Rights in the Occupied Territories Salvador Allende, 108 Hebron Stories, 75 Israeli occupation of Palestinian Halbwachs, Maurice, 2, 7 land, 68–82 Hall, Stuart, 5–6, 8, 82, 105–6 Heath, Stephen, 5 Jacir, Annemarie Hedges, Inez Salt of This Sea, 79–80 Children of Drancy play, When I Saw You, 81 165n. 43 Jameson, Fredric, 152 Hegel, G.W.F., 3 Japan Confederation of A- and Heilmann, Horst, 141, 177n. 7 H-Bomb Sufferers, 32, 48 Hersey, John Japan Council against Atomic and Hiroshima, 33 Hydrogen Bombs, 32 hibakusha, 32–4, 38, 44, 48–9, Jara, Victor, 116 156, 158 Jewish Statues (Vichy France), 12 Hiroshima, 7, 48, 157 Jou, Henry Hirsch, Marianne, 7 Gare de la douleur, 17 188 Index

Kafka, Franz Mashawari, Rashid The Castle, 140, 1430 Laila’s Birthday, 74 Kanafani, Ghassan, 77 Masri, Mai, 68 Kaplan, Alice, 161–2n. 1 May 1968 (Paris), 107, 111–12 Khleifi, George, 74, 78 Mellen, Joan, 36 Khleifi, Michel, 68–71, 82 Mémorial de la Shoah (Drancy), 28 Fertile Memory, 69 Metz, Christian, 4 Ma’loul Commemorates its Mitterrand, François, 13 Destuction, 69 Modiano, Patrick Route 181, 71 Dora Bruder, 22 Wedding in Galilee, 70–1, 73 Moreh, Dror Kindelan, Nancy The Gatekeepers, 113 Children of Drancy play, 165n. 43 movida madrileña, 58, 64 Kinder, Marsha, 59 “multidirectional memory,” 95 Klarsfeld, Serge, 13–14, 25, 162n. 7 Müller, Heiner Koepp, Volker, 6 “Hamlet Machine,” 150 “What’s New in Wittstock?,” 149 Müller Silva, Jorge, 116–17 Kurosawa, Akira, 40 Chronicle of a Survivor, 33–8 Naficy, Hamid, 68 Dreams, 47 Nagai, Takashi The Bells of Nagasaki, 33 LaCapra, Dominick, 15, 17, 24 Nagasaki, 7, 31 Lakhdar-Hamina Nakba, 7, 63, 69 Chronicle of the Years of Embers, “narrative truth” (Spence), 15, 22, 24 89–94 Naville, Pierre, 114 Langmann, Ursula, 109, 113 négritude, 8, 84, 87–8, 96 Lanzmann, Claude, and Holocaust Némirovsky, Irène representation, 17, 44 Suite française, 11 Shoah, 17 Noguira, Ana Le Pen, Jean-Marie, 94 Roadmap to Apartheid, 75 Lebel, Jean-Patrick Nora, Pierre, 1–4, 9, 12–13, 26 Cité de la Muette, 164n. 41 Leiris, Michel, 87 “obstinate memory,” 8, 107–22, 158 Levinas, Emmanuel, 17 Ōe, Kenzaburō, 31, 33, 47 Lifton, Robert J., 36, 39 The Crazy Iris, 38 Littel, Jonathan Hiroshima Notes, 37 The Kindly Ones, 11 Ophuls, Max “living memory,” 6, 11–30, 66, The Sorrow and the Pity, 3, 156 141, 158 Ostalgie, 150 Lorca, Federico García, 51 Löwy, Michael, 92 Palcy, Euzhan, 88 Loxley, James, 66 Palestinian Arab identity, 7, 65–82 “Panic Movement,” 52 Marcuse, Herbert, 113–14 Papon, Maurice, 95 Marker, Chris, 6, 8 Paz, Senal, 134 La Jétee, 119–20 Péan, Pierre Le Fond de l’air est rouge (A grin Une jeunesse française, 13 without a cat), 107, 109–14 Perec, Georges Maron, Jeremy, 179n. 8 W, or the Memory of Childhood, 21–3 Index 189

“performative memory,” 7, 65–82, 158 September 11, 2001 performative speech acts, 66 films about, 155–6 performativity, 50, 66, 87, 114 memorial, 154 Pergamon friezes, 140–2 Sétif massacre, 92–3 Petzold, Christian Shashat, 81 Barbara, 177n. 24 Shigematsu, Shizuma, 38 Picasso, Pablo, 130 Shoah (France), 11, see also Holocaust “Guernica,” 50–1, 58, 142–3 Singer, Daniel, 107, 112 Pinochet, Augusto sites of memory, 1, 151 Chilean dictatorship, 10, 107–8, Sivan, Eyal 117–19 Route 181, 71 “political memory” (contrasted with Solas, Humberto, 123 “cultural memory”), 156 Soyinka, Wole, 95, 97 Pontecorvo, Gillo Spanish Civil War, 7, 140, 142, 157 The Battle of Algiers, 91 Spence, Donald, 15 post-colonial societies, 2–5, 8, 83–4, Suleiman, Elia, 68, 82 87–95 Chronicle of a Disappearance, 71–2 postmemory, 7 Divine Intervention, 71–4 “productive memory,” 2, 8, 123–38, 158 The Time That Remains, 73 Suleiman, Susan, 10 Raczymow, Henri, 23 sumud, 74–6 Writing the Book of Esther, 22–3 surrealism, 8 “radical memory,” 8, 83–106, 158 black humor, 54, 92, 143 Rajsfus, Maurice, 28 “convulsive beauty,” 7, 52 “reclaimed memory,” 8–9, 139–53, 158 in films by Gutiérrez Alea, 130–2 resistencialism, 1, 12 game of l’un dans l’autre, 57 Resnais, Alain protest against colonialism, 86 Night and Fog, 20 surrealist object, 57 Ricoeur, Paul, 2, 6, 67, 160n. 2 theory of the image, 57–8, 85–6 Rivas, Carolina The Color of Olives, 75 Tabío, Juan Carlos, 123 Rosemont, Franklin, 86–7 Strawberry and Chocolate, 133 Rothberg, Michael, 95 Waiting List, 135–7 Rousso, Henry, 7 Taubira Act (France), 9 The Vichy Syndrome, 12–15 Taylor, Clyde, 102–4 “transgenerational memory,” 7 Sabbagh, Antoine, 14 trauma and memory, 6, 15, 22, 34, Said, Edward, 66, 71–2, 76, 139 37–9, 80, 157–8 Sarkozy, Nicolas, 14, 94 Treat, John Whittier, 39, 42 Sartre, Jean-Paul, 87 Truffaut, François scopophilia, 4 The Last Metro, 16 Sebald, W. G., 144 Selinger, Shelomo Ulbricht, Walter, 148 artist of the Drancy memorial, 26–8 Sembene, Ousmane, 95–102 Veil, Simone, 14 God’s Bits of Wood, 96–9 Vertov, Dziga, 123, 143 La Noire de…, 83 Vichy Government (France), 12, 13 Moolaadé, 99–102 policies against Jews, 14 Senghor, Louis Léopold, 84, 87 roundups of Jews in France, 12, 95 190 Index

Wallis, Victor, 108 Divided Heaven, 146–8 Warhol, Andy, 58 What Remains?, 152–3 Weiss, Peter The Aesthetics of Resistance, 25, 134, Yaqub, Soraya, 80 139–45 Yoshida, Kijū (Yoshishige), theory of Wellers, Georges, 29 film, 46–7 Wiedmer, Caroline, 26–8 Women of the Mirror, 33–4, 43–7 Wolf, Christa, 152 attacks on, 152–3 Zapatistas, 144