Janet Walker 
Trauma Cinema 
Documenting Incest and the Holocaust

Trauma Cinema focuses on a new breed of documentary films and videos that adopt catastrophe as their subject matter and trauma as their aesthetic. Incorporating oral testimony, home-movie footage, and documentary reenactment, these documentaries express the havoc trauma wreaks on history and memory. Janet Walker uses incest and the Holocaust as a double thematic focus and fiction films as a point of comparison. Her astute and original examination considers the Hollywood classic
Kings Row and the television movie
Sybil in relation to vanguard nonfiction works, including Errol Morris’s
Mr. Death, Lynn Hershman’s video diaries, and the chilling genealogy of incest,
Just, Melvin.


Both incest and the Holocaust have also been featured in contemporary psychological literature on trauma and memory. The author employs theories of post traumatic stress disorder and histories of the so-called memory wars to illuminate the amnesias, fantasies, and mistakes in memory that must be taken into account, along with corroborated evidence, if we are to understand how personal and public historical meaning is made.


Janet Walker’s engrossing narrative demonstrates that the past does not come down to us purely and simply through eyewitness accounts and tangible artifacts. Her incisive analysis exposes the frailty of memory in the face of disquieting events while her joint consideration of trauma cinema and psychological theorizing radically reconstructs the roadblocks at the intersection of catastrophe, memory, and historical representation.


This title is part of UC Press’s Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 2005.

Trauma Cinema focuses on a new breed of documentary films and videos that adopt catastrophe as their subject matter and trauma as their aesthetic. Incorporating oral testimony, home-movie footage, and documentary reenactment, these documentaries ex

Table des matières

Acknowledgments

Preface


PART I. THE TRAUMATIC PARADOX

Chapter 1. Catastrophe, Representation, and the Vicissitudes of Memory


PART II. PERSONAL MEMORY: THE CASE OF INCEST

Chapter 2. The Excision of Incest from Classical Hollywood Cinema:

Kings Row and
Freud

Chapter 3. Incest on Television and the Burden of Proof:

Sybil; Shattered Trust: The Shari Karney Story; Liar, Liar; and
Divided Memories

Chapter 4. Strange Bedfellows—Incest in Trauma Documentaries:

Daughter Rite; Some Nudity Required; the
Electronic Diary Series;
Just, Melvin; and
Capturing the Friedmans


PART III. THE PERSONAL IS PUBLIC HISTORICAL: (AUTO)BIOGRAPHIES OF THE HOLOCAUST

Chapter 5.
The Last Days Is Not
Shoah—Experiments in Holocaust Representation:

The March and
Tak for Alt

Chapter 6. Disremembering the Holocaust:

Everything’s for You, Second Generation Video, and
Mr. Death

Conclusion


Notes

Bibliography

Video/Filmography

Index

A propos de l’auteur

Janet Walker is Professor of Film Studies at the University of California, Santa Barbara, where she is also affiliated with the Women’s Studies Program. Her other books as author or editor are Couching Resistance: Women, Film, and Psychoanalytic Psychiatry (1993), Feminism and Documentary (with Diane Waldman, 1999), and Westerns: Films through History (2001).