scispace - formally typeset
Search or ask a question
Author

Ingrid Lewis

Bio: Ingrid Lewis is an academic researcher from Dundalk Institute of Technology. The author has contributed to research in topics: Persecution & The Holocaust. The author has an hindex of 2, co-authored 19 publications receiving 11 citations.

Papers
More filters
Book
19 Jan 2018
TL;DR: The authors explored dominant discourses on and cinematic representation of women as victims, resisters and perpetrators during the Holocaust and found that women's experiences have been treated in films dealing with the Nazi persecution.
Abstract: The persistence of filmmakers in tackling the subject of the Holocaust over the last seven decades has resulted in an overwhelming body of films, which is continuously expanding. While this body of work is vast and diverse in terms of aesthetic, narrative, generic and ideological approaches, it is possible to trace cycles and patterns which both reflect and respond to particular sets of political, historical, social, commercial and gender-related factors. Crucially, what moulds our collective memory of the Holocaust is not a transparent projection of events, but a complex constellation of ideologies, public memories of the Holocaust, market-driven processes, cultural interpretations and a multitude of other factors. Since the early 1980s, the study of women and the Holocaust has evolved into a distinct academic field. In spite of this, however, the representation of women in Holocaust cinema remains a relatively underresearched domain. The present study addressed this gap, providing substantial knowledge on how women’s experiences have been treated in films dealing with the Nazi persecution. Focusing on fiction films made in Europe between 1945 and the present, this research explores dominant discourses on and cinematic representation of women as victims, resisters and perpetrators. In all three categories, this thesis reveals what aspects of women’s lives during the Holocaust have been exposed, distorted or concealed by cinema.

5 citations

BookDOI
01 Jan 2017

5 citations

Book ChapterDOI
01 Jan 2017
TL;DR: This article examined four films that depict the role of women in coming to terms with the past in Germany and France and argued that these films construct a counterdiscourse of the past by highlighting the successful opposition of women to the Nazi regime in a context in which military resistance was ineffective.
Abstract: This chapter examines four films that depict the role of women in coming to terms with the past in Germany and France. Firstly, it analyses Sophie Scholl: The Final Days (2005) and Rosenstrasse (2003), arguing that these films construct a counter-discourse of the past by highlighting the successful opposition of women to the Nazi regime in a context in which military resistance was ineffective. Secondly, it focuses on The Nasty Girl (1990) and Sarah's Key (2010) as two examples of films concerned with second- and third-generation women who act as catalysts of post-Holocaust justice and symbols of non-complicity with the past.

1 citations

Book ChapterDOI
01 Jan 2020
TL;DR: In this article, Lewis and Canning address a set of key questions regarding form, aesthetics, industry, and identity in mapping the critical debates necessary to outline the territory of European cinema in the twenty-first century.
Abstract: Lewis and Canning address a set of key questions regarding form, aesthetics, industry, and identity in mapping the critical debates necessary to outline the territory of European cinema in the twenty-first century. They do so by building on extant scholarship to create a picture of a field impossible to delimit but characterised by diversity and difference, marked by complex production and funding landscapes, caught between oppositions to and adaptations of Hollywood approaches, experiencing tensions between old and new, and operating in an increasingly post-national, pan-European, and transnational reality. They go on to outline the structure of the book and its relevance to contemporary students and conclude by giving a brief overview of each chapter.

1 citations

Book ChapterDOI
01 Jan 2020
TL;DR: In this paper, the authors discuss the figure of Manoel de Oliveira, the renowned Portuguese auteur whose filmmaking career spanned from 1931 to 2015, focusing on Belle Toujours (2006), Eccentricities of a Blonde-Haired Girl (2009), and The Strange Case of Angelica (2010).
Abstract: This chapter discusses the figure of Manoel de Oliveira, the renowned Portuguese auteur whose filmmaking career spanned from 1931 to 2015. Lewis and Sever Globan argue that Oliveira’s longevity and prolific career allowed him to carry into the twenty-first century a set of female representations which can be considered highly problematic in the context of contemporary society. By focusing on Belle Toujours (2006), Eccentricities of a Blonde-Haired Girl (2009) and The Strange Case of Angelica (2010), the chapter explains how Oliveira’s recent films set in place an intricate process of reviving a regressive patriarchal auteurism which is performed through mechanisms of male identification, male gaze and a strong voyeuristic element.

1 citations


Cited by
More filters
Journal ArticleDOI
TL;DR: Following a century filled with violations of human rights, a significant number of documentary films have appeared since the first decade of the current century that report these events as mentioned in this paper, and a number of them have been published since the early 1990s.
Abstract: Following a century filled with violations of human rights, a significant number of documentary films have appeared since the first decade of the current century that report these events. Tradition...

14 citations

Journal ArticleDOI
TL;DR: In recent years, the number of diverse forms of cultural productions focused on the perpetrators has increased significantly eliciting thus a turn toward this problematic figure as mentioned in this paper, and the originality of...
Abstract: In recent years the number of diverse forms of cultural productions focused on the perpetrators has increased significantly eliciting thus a turn toward this problematic figure. The originality of ...

12 citations

Journal ArticleDOI
TL;DR: In this article, an attempt to study Henrik Ibsen's drama "When We Dead Awaken" from the point of view of male gaze theory is made. But, it is not clear how a woman loses her identity and individuality in a male dominated society that evaluates and defines woman as a sexual object.
Abstract: This article is an attempt to study Henrik Ibsen’s drama ‘When We Dead Awaken’ from the point of view of male gaze theory. It reveals that exposition of women’s body in nudity as an art is another form of male exploitation of female. In this environment, a woman becomes source of pleasure for males who gaze women to fulfill their erotic desires. In doing so, this article explores how a woman loses her identity and individuality in male dominated society that evaluates and defines woman as a sexual object. Keywords— Male gaze, voyeurism, nudity, exploitation, objectification, visual pleasure, resurrection.

3 citations

Journal ArticleDOI
28 Sep 2019
TL;DR: In this article, the authors focus on the ways in which sexualization is used specifically to portray female perpetrators in The Reader, as a fictional Holocaust film, and argue that Hanna's sexualized female body is constructed as a central part of the revelation of her perpetration.
Abstract: The publication of Bernhard Schlink’s novel The Reader (1995) sparked conversation and controversy about sexuality, female perpetrators and the complexity of guilt regarding the Holocaust. The screen adaptation of the book (Daldry 2008) amplified these discussions on an international scale. Fictional Holocaust films have a history of being met with skepticism or even reject on the one hand and great acclaim on the other hand. As this paper will outline, the focus has often been on male perpetrators and female victims. The portrayal of female perpetration reveals dichotomous stereotypes, often neglecting the complexity of the subject matter. This paper focuses on the ways in which sexualization is used specifically to portray female perpetrators in The Reader, as a fictional Holocaust film. An assessment of Hanna’s relationship to Michael and her autonomous sexuality and her later inferior, victimized portrayal as an ambiguous perpetrator is the focus of my paper. Hanna’s sexuality is structurally separated from her role as a perpetrator. Hanna’s perpetration is, through the dichotomous motif of sexuality throughout the film, characterized by a feminization. However, this feminization entails a relativization of Hanna’s culpability, revealing a pejorative of her depiction as a perpetrator. Consequently, I argue that Hanna’s sexualized female body is constructed as a central part of the revelation of her perpetration.

2 citations

Journal ArticleDOI
Fiona Gill1
TL;DR: This paper examined women's experiences under the Khmer Rouge regime and found that women experienced the regime in qualitatively different ways to men, as both victims and perpetrators of violence, and pointed to the need for more nuanced examinations of the regime.
Abstract: Analyses of women's experiences under the Khmer Rouge have been relatively limited. It is clear, however, that women experienced the regime in qualitatively different ways to men. This paper examines some of these experiences as depicted on the genocide memorial at Wat Samrong Knong in Battambang. The analysis reveals that women's experiences were the result of the interaction of Khmer Rouge ideology with existing Cambodian gender norms and expectations. This explains the depiction of women in multifaceted ways, as both victims and perpetrators of violence. It is this dual role which remains missing from analyses and which points to the need for more nuanced examinations of the regime.

2 citations