© 2019

Cinematic Intermedialities and Contemporary Holocaust Memory

  • Marks the first book to foreground cinematic intermedialities in relation to Holocaust memory

  • Turns from the visual and representational quality of images to the space in-between them

  • Emphasises Holocaust memory as a collaborative process between spectator and film, rather than as something shown to spectators


Table of contents

  1. Front Matter
    Pages i-ix
  2. Victoria Grace Walden
    Pages 1-11
  3. Victoria Grace Walden
    Pages 13-69
  4. Victoria Grace Walden
    Pages 71-111
  5. Victoria Grace Walden
    Pages 113-154
  6. Victoria Grace Walden
    Pages 201-210
  7. Back Matter
    Pages 211-217

About this book


This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory. 


film-philosophy Auschwitz animation museum installations representation the body victim spectator audience bergen belsen cinema

Authors and affiliations

  1. 1.University of SussexBrightonUK

About the authors

Victoria Grace Walden is a teaching fellow at the University of Sussex, UK. She has published numerous articles about Holocaust animation and memory, and has several years’ experience working in Holocaust education. 

Bibliographic information