Introduction: Unmade Holocaust Film

References

• Beeston, A. and Solomon, S., eds., 2023. Incomplete: the feminist possibilities of the unfinished film. Berkeley: University of California Press.
   Google Scholar
• Bordwell, D., 1989. Making meaning: inference and rhetoric in the interpretation of cinema. Cambridge: Harvard University Press.
   Google Scholar
• Brody, R., 2012. Witness. New Yorker, 12 Mar. Available from: https://www.newyorker.com/magazine/2012/03/19/witness-5/.
   Google Scholar
• Daney, S., 2020 [1992]. The tracking shot in Kapò [1992], trans. P. Grant. In: J. Westall, ed. The continental philosophy of film reader. London: Bloomsbury, 168–180.
   Google Scholar
• Dickson, D., 2020. From Lanzmann’s circle of flames to bodies in pain: Anglo-American Holocaust fiction and representations of the gas chamber. Genealogy, 4 (3), 88. doi:10.3390/genealogy4030088.
   Google Scholar
• Fenwick, J., 2021. Unproduction studies and the American film industry. New York: Routledge.
   Google Scholar
• Fenwick, J., Foster, K., and Eldridge, D., 2020. Introduction. In: J. Fenwick, K. Foster, and D. Eldridge, eds. Shadow cinema: the historical and production contexts of unmade film. London: Bloomsbury, 1–14.
   Google Scholar
• Foster, K., 2023. Hammer goes to hell: the house of horror’s unmade films. Edinburgh: Edinburgh University Press.
   Google Scholar
• Freedland, J., 2023. “It will always be less hellish than the reality”: why cinema keeps returning to the Holocaust. The Guardian, 15 Dec.
   Google Scholar
• Handy, B., 1992. Jerry goes to death camp. Spy: The New York Monthly, May.
   Google Scholar
• Handy, B., 2017. The French film critic who saw Jerry Lewis’s infamous Holocaust movie: and loved it. Vanity Fair, Aug 21.
   Google Scholar
• Jordan, J., 2021. Beyond the cesspit beneath: the BBC and the Holocaust. In: A. Pearce and T. Lawson, eds. The Palgrave handbook of Britain and the Holocaust. London: Palgrave, 243–260.
   Google Scholar
• Krämer, P., 2015. Adaptation as exploration: Stanley Kubrick, literature, and A.I. Artificial Intelligence. Adaptation, 8 (3), 372–382. doi:10.1093/adaptation/apv021.
   Google Scholar
• Kunze, P., 2017. Herding Cats; or, the possibilities of unproduction studies. The Velvet Light Trap, 80, 18–31. doi:10.7560/VLT8003.
   Google Scholar
• Langford, B., 1999. ‘You cannot look at this’: thresholds of unrepresentability in Holocaust film. The Journal of Holocaust Education, 8 (3), 23–40. doi:10.1080/17504902.1999.11087094.
   Google Scholar
• Langford, B., 2012. Holocaust film. In: A. Piette and M. Rawlinson, eds. The Edinburgh companion to twentieth-century British and American War literature. Edinburgh: EUP, 134–150.
   Google Scholar
• Murray, S., 2008. Phantom adaptations: Eucalyptus, the adaptation industry and the film that never was. Adaptation, 1 (1), 5–23. doi:10.1093/adaptation/apm002.
   Google Scholar
• North, D., ed., 2008. Sights unseen: unfinished British films. Newcastle: Cambridge Scholars Publishing.
   Google Scholar
• Parkinson, D., 2016. Night Will Fall: the story of file number 3080. BFI, 11 Jan.
   Google Scholar
• Raphael, F., 1999. Eyes Wide Open. New York: Ballantine Books.
   Google Scholar
• Romney, J., 2024. That’s the horror: there’s nothing remarkable about these people at all. Sight and Sound, March, 56–60.
   Google Scholar
• Salah, H. and Mullalley, W., 2024. Controversial Jerry Lewis film to be given to scholars – after 52-year wait. The National, 2 Apr.
   Google Scholar
• Saxton, L., 2003. Anamnésis: Godard/Lanzmann. Trafic, 47, 48–66.
   Google Scholar
• Stone, D., 2023. The Holocaust: an unfinished history. London: Pelican.
   Google Scholar
• Vice, S., 2011. Shoah. London: British Film Institute.
   Google Scholar
• Vice, S., 2020. Claude Lanzmann’s Shoah and its shadow: rescue and resistance. In: J. Fenwick, K. Foster, and D. Eldridge, eds. Shadow cinema: The historical and production contexts of unmade film. London: Bloomsbury, 199–213.
   Google Scholar
• Witt, M., 2020. Unearthing a forgotten television work by Jean-Luc Godard. Senses of Cinema, 95, July.
   Google Scholar