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.

In this accessible, clear, jargon free, and comprehensive text, Projecting the Holocaust into the Present offers an insightful historical perspective on how public conceptions of the Holocaust in film have changed over time.

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.

When representing the Holocaust, the slightest hint of narrative embellishment strikes contemporary audiences as somehow a violation against those who suffered under the Nazis. This anxiety is, at least in part, rooted in Theodor Adorno's dictum that "To write poetry after Auschwitz is barbaric." And despite the fact that he later reversed his position, the conservative opposition to all "artistic" representations of the Holocaust remains powerful, leading to the insistent demand that it be represented, as it really was. And yet, whether it's the girl in the red dress or a German soldier belting out Bach on a piano during the purge of the ghetto in Schindler's List, or the use of tracking shots in the documentaries Shoah and Night and Fog, all genres invent or otherwise embellish the narrative to locate meaning in an event that we commonly refer to as "unimaginable." This wide-ranging book surveys and discusses the ways in which the Holocaust has been represented in cinema, covering a deep cross-section of both national cinemas and genres.

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.