Holocaust, Genocide, and Human Rights Studies: Books

Brilliant and wrenching, The Holocaust: History and Memory tells the story of the brutal mass slaughter of Jews during World War II and how that genocide has been remembered and misremembered ever since. Taking issue with generations of scholars who separate the Holocaust from Germany's military ambitions, historian Jeremy M. Black demonstrates persuasively that Germany's war on the Allies was entwined with Hitler's war on Jews. As more and more territory came under Hitler's control, the extermination of Jews became a major war aim, particularly in the east, where many died and whole Jewish communities were exterminated in mass shootings carried out by the German army and collaborators long before the extermination camps were built. Rommel's attack on Egypt was a stepping stone to a larger goal--the annihilation of 400,000 Jews living in Palestine. After Pearl Harbor, Hitler saw America's initial focus on war with Germany rather than Japan as evidence of influential Jewish interests in American policy, thus justifying and escalating his war with Jewry through the Final Solution. And the German public knew. In chilling detail, Black unveils compelling evidence that many everyday Germans must have been aware of the genocide around them. In the final chapter, he incisively explains the various ways that the Holocaust has been remembered, downplayed, and even dismissed as it slips from horrific experience into collective consciousness and memory. Essential, concise, and highly readable, The Holocaust: History and Memory bears witness to those forever silenced and ensures that we will never forget their horrifying fate.

Yehuda Bauer, one of the world’s premier historians of the Holocaust, here presents an insightful overview and reconsideration of its history and meaning. Drawing on research he and other historians have done in recent years, he offers fresh opinions on such basic issues as how to define and explain the Holocaust; whether it can be compared with other genocides; how Jews reacted to the murder campaign against them; and what the relationship is between the Holocaust and the establishment of Israel.

The Holocaust says something terribly important about humanity, says Bauer. He analyzes explanations of the Holocaust by Zygmunt Bauman, Jeffrey Herf, Goetz Aly, Daniel Goldhagen, John Weiss, and Saul Friedländer and then offers his own interpretation of how the Holocaust could occur. Providing fascinating narratives as examples, he deals with reactions of Jewish men and women during the Holocaust and tells of several attempts at rescue operations. He also explores Jewish theology of the Holocaust, arguing that our view of the Holocaust should not be clouded by mysticism: it was an action by humans against other humans and is therefore an explicable event that we can prevent from recurring.

Immediately after World War II, there was little discussion of the Holocaust, but today the word has grown into a potent political and moral symbol, recognized by all.  In Holocaust: An American Understanding, renowned historian Deborah E. Lipstadt explores this striking evolution in Holocaust consciousness, revealing how a broad array of Americans--from students in middle schools to presidents of the United States--tried to make sense of this inexplicable disaster, and how they came to use the Holocaust as a lens to interpret their own history.   Lipstadt weaves a powerful narrative that touches on events as varied as the civil rights movement, Vietnam, Stonewall, and the women's movement, as well as controversies over Bitburg, the Rwandan genocide, and the bombing of Kosovo. Drawing upon extensive research on politics, popular culture, student protests, religious debates and various strains of Zionist ideologies, Lipstadt traces how the Holocaust became integral to the fabric of American life. Even popular culture, including such films as Dr. Strangelove and such books as John Hershey's The Wall, was influenced by and in turn influenced thinking about the Holocaust. Equally important, the book shows how Americans used the Holocaust to make sense of what was happening in the United States. Many Americans saw the civil rights movement in light of Nazi oppression, for example, while others feared that American soldiers in Vietnam were destroying a people identified by the government as the enemy.      Lipstadt demonstrates that the Holocaust became not just a tragedy to be understood but also a tool for interpreting America and its place in the world. Ultimately Holocaust: An American Understanding tells us as much about America in the years since the end of World War II as it does about the Holocaust itself.  

Genocide occurs in every time period and on every continent. Using the 1948 U.N. definition of genocide as its departure point, this book examines the main episodes in the history of genocide from the beginning of human history to the present. Norman M. Naimark lucidly shows that genocide both changes over time, depending on the character of major historical periods, and remains the same in many of its murderous dynamics. He examines cases of genocide as distinct episodes of mass violence, but also in historical connection with earlier episodes. Unlike much of the literature in genocide studies, Naimark argues that genocide can also involve the elimination of targeted social and political groups, providing an insightful analysis of communist and anti-communist genocide. He pays special attention to settler (sometimes colonial) genocide as a subject of major concern, illuminating how deeply the elimination of indigenous peoples, especially in Africa, South America, and North America, influenced recent historical developments. At the same time, the "classic" cases of genocide in the twentieth Century - the Armenian Genocide, the Holocaust, Rwanda, and Bosnia -- are discussed, together with recent episodes in Darfur and Congo.

In eight case studies written by recognized experts this book offers a major contribution to the comparative analysis of genocidal phenomena. Besides tapping a rich vein of empirical data, this collective effort breaks new ground in analyzing how denial, oblivion, or manipulated memory tends to mask the hideous realities of mass killing.

Film and Genocide brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentary Night and Fog about the Nazis' mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide.     Film and Genocide also includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director of The Portraitist (2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the c& Nick Hughes, director of 100 Days (2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director of Ghosts of Rwanda (2004), a television documentary for Frontline.

The first full account of the government-sanctioned genocide of California Indians under United States rule   Winner of the 2016 Los Angeles Times Book Award for History and a New York Times Book Review Editors' Choice   "Gruesomely thorough. . . . Others have described some of these campaigns, but never in such strong terms and with so much blame placed directly on the United States government."--Alexander Nazaryan, Newsweek   Between 1846 and 1873, California's Indian population plunged from perhaps 150,000 to 30,000. Benjamin Madley is the first historian to uncover the full extent of the slaughter, the involvement of state and federal officials, the taxpayer dollars that supported the violence, indigenous resistance, who did the killing, and why the killings ended. This deeply researched book is a comprehensive and chilling history of an American genocide.    Madley describes pre-contact California and precursors to the genocide before explaining how the Gold Rush stirred vigilante violence against California Indians. He narrates the rise of a state-sanctioned killing machine and the broad societal, judicial, and political support for genocide. Many participated: vigilantes, volunteer state militiamen, U.S. Army soldiers, U.S. congressmen, California governors, and others. The state and federal governments spent at least $1,700,000 on campaigns against California Indians. Besides evaluating government officials' culpability, Madley considers why the slaughter constituted genocide and how other possible genocides within and beyond the Americas might be investigated using the methods presented in this groundbreaking book.

In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. The intergenerational dialogue established by Aarons' reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust. Examined together, these intergenerational works bridge the erosions created by time and distance. As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow.  

Film and Genocide brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentary Night and Fog about the Nazis' mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide.     Film and Genocide also includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director of The Portraitist (2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the c& Nick Hughes, director of 100 Days (2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director of Ghosts of Rwanda (2004), a television documentary for Frontline.