Max Silverman
Biographic Data
| ID | 3734816 |
|---|---|
| NAME | Max Silverman |
| GIVEN NAMES | Max |
| FAMILY NAME | Silverman |
| SIGNATURE | SILVERMAN M |
| AFFILIATIONS | University of Leeds |
| ORCID | 0000-0002-0601-5866 |
| VERIFIED | No |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 38 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Occupation and resistance: In honour of Margaret Atack
Margaret Atack (1948-2023)
Journal Article Margaret Atack (1948–2023) Get access Diana Holmes, Diana Holmes [email protected] https://orcid.org/0000-0001-9079-3582 Search for other works by this author on: Oxford Academic Google Scholar Max Silverman Max Silverman Search for other works by this author on: Oxford Academic Google Scholar French Studies, knae052, https://doi.org/10.1093/fs/knae052 Published: 28 March 2024
Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog
Since its completion in 1955, Alain Resnais’s Night and Fog ( Nuit et Brouillard ) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, id…
Latency in Lebanon, or bringing things (back) to life: A Perfect Day (Joana Hadjithomas and Khalil Joreige, 2005)
Many Lebanese films and documentaries of the last few decades have focused on the hidden legacies of the civil war (1975–1991) that remain unprocessed in public, and often private, life. Unsurprisingly, these works have often been discussed by critics through the lens of traumatic cultural memory. In the first part of this article I argue that this model is productive yet insufficient. I suggest, instead, a methodological approach which acknowled…
Frantz Fanon’s 'Black Skin, White Masks': New Interdisciplinary eassys
Frantz Fanon’s 'Black Skin, White Masks: New interdisciplinary essays
Entretien avec joana hadjithomas et khalil joreige: Je veux voir
Additional informationNotes on contributorsMax SilvermanJoana Hadjithomas and Khalil Joreige are filmmakers and artists, producing cinematic and visual artwork that intertwine. They have directed multi-awarded films such as Khiam 2000–2007 (2008), A Perfect Day (2005), Je veux voir (I want to see, 2008), and The Lebanese Rocket Society. Their artwork has been shown in many museums, biennials, and art centers around the world and is part of many p…
The art of seeing in je veux voir
Made in the aftermath of the war in Lebanon of 2006, Je veux voir (Mille et une productions, 2008) is a road movie which pairs the icon of French cinema, Catherine Deneuve, with the Lebanese actor Rabih Mroué. He is her driver and guide, she is his muse. He is “at home” in his country, she is cocooned by her fame. But, like most road movies, these comfort zones will be disturbed by the encounter between different lives and, as the film's title su…
The Unspeakable: Representations of Trauma in Francophone Literature and Art
The Unspeakable: Representations of Trauma in Francophone Literature and Art." Modern & Contemporary France, 23(2), pp. 265–266
Palimpsestic Memory: The Holocaust and Colonialism in French and Francophone Fiction and Film
Introduction: Staging Memory as Palimpsest Chapter 1. The Politics and Poetics of Memory 1.1 The Concentrationary Universe and Total Domination 1.2 The Politics of Memory: Between the Holocaust and Colonialism 1.3 The Poetics of Memory 1.4 Interconnecting Memories Chapter 2. Concentrationary Memory 2.1 Fearful Imagination 2.2 Alain Resnais's Nuit et brouillard 2.3 Memoire-monde Chapter 3. Anti-colonialism Revisited 3.1 Frantz Fanon: Peau noire ma…
Frantz Fanon: Colonialism and Violence
History on the Side of the Powerless
The Violence of the Cut: Michael Haneke’s Caché and Cultural Memory
Michael Haneke’s film Caché (2005) treats the cut in a number of ways. There are the violent physical cuts that punctuate the film, violent cuts in the ties binding one character to another, the cuts that mark out the dividing lines between the protected zone of Georges’s bourgeois life and the outside world, and, finally, the filmic cut which splices up the world into disconnected images. In this article, I will argue that the cut is central to …
Knotted Intersections: Cixous and Derrida
Interconnected Histories: Holocaust and Empire in the Cultural Imaginary
Interconnections between fascism and colonialism and between antisemitism and colonial racism, perceived by post-war theorists of racialized violence such as Hannah Arendt and Aimé Césaire, have for a long time fascinated a number of writers and filmmakers in post-war France, yet their works are not often received from this point of view. This article considers Georges Perec's W ou le souvenir d'enfance (1975) and Patrick Modiano's Dora Bruder (1…
The French Republic unveiled
How long can a beard be before it becomes a political weapon? How can one distinguish between a discreet and ostentatious deployment of signs of cultural difference? What signs of cultural identity are acceptable in the public sphere? In this article I shall argue that these questions can only be answered by understanding the French republican model. First, I shall suggest that France continues to 'veil' itself in a mythical past concerning the R…
Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art
The recent proliferation of studies of French representations of the Holocaust, dominated by trauma studies and postmodern theory, has tended to privilege the survivor testimony of Robert Antelme (author of L'Espèce humaine), the critical work of Maurice Blanchot on the unnameable and a Levinassian ethics of the other. In this article I would like to focus on a different strand in post-Holocaust art and theory in France in which the significant i…
Democracy in Modern France
Journal Article Democracy in Modern France Get access Max Silverman Max Silverman University of Leeds Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume LX, Issue 1, January 2006, Pages 161–162, https://doi.org/10.1093/fs/kni364 Published: 01 January 2006
French Civilization and its Discontents: Nationalism, Colonialism, Race
Memorializing the holocaust in Britain
Memorializing the holocaust in Britain: A response to David Cesarani
Short notices
Archives de la présidence de la République, Ve République, Georges Pompidou (19 juin 1969–2 avril 1974), Archives nationales, 1996, 271 pp., 250 F., ISBN 2 11 003603 6 Archives du Rassemblement du Peuple Français, Fondation Charles de Gaulle, 1996 291pp., 100 F., ISSN 1266 2437 INSTITUT FRANÇAIS D'ARCHITECTURE, Archives d'architectes. Etat des fonds, XIXe‐XXe siècles, Archives de France/La Documentation Française, 1996, 320 pp., 200 F., ISBN 2 11…
The Dreyfus affair: One hundred years on 1
L'annee 1994 constitue le centieme anniversaire de l'Affaire Dreyfus en France et l'A. se propose de mettre en parallele la situation d'il y a un siecle et celle d'aujourd'hui. L'antisemitisme n'est pas un phenomene naturel dont l'origine serait a chercher dans des societes non-democratiques. C'est au contraire un phenomene social qui prend differentes formes selon les contextes sociaux. A l'epoque de l'Affaire Dreyfus comme aujourd'hui, l'antise…
Race' in question
Palimpsestic Memory: The Holocaust and Colonialism in French and Francophone Fiction and Film
Introduction: Staging Memory as Palimpsest Chapter 1. The Politics and Poetics of Memory 1.1 The Concentrationary Universe and Total Domination 1.2 The Politics of Memory: Between the Holocaust and Colonialism 1.3 The Poetics of Memory 1.4 Interconnecting Memories Chapter 2. Concentrationary Memory 2.1 Fearful Imagination 2.2 Alain Resnais's Nuit et brouillard 2.3 Memoire-monde Chapter 3. Anti-colonialism Revisited 3.1 Frantz Fanon: Peau noire ma…
Interconnected Histories: Holocaust and Empire in the Cultural Imaginary
Interconnections between fascism and colonialism and between antisemitism and colonial racism, perceived by post-war theorists of racialized violence such as Hannah Arendt and Aimé Césaire, have for a long time fascinated a number of writers and filmmakers in post-war France, yet their works are not often received from this point of view. This article considers Georges Perec's W ou le souvenir d'enfance (1975) and Patrick Modiano's Dora Bruder (1…
The French Republic unveiled
How long can a beard be before it becomes a political weapon? How can one distinguish between a discreet and ostentatious deployment of signs of cultural difference? What signs of cultural identity are acceptable in the public sphere? In this article I shall argue that these questions can only be answered by understanding the French republican model. First, I shall suggest that France continues to 'veil' itself in a mythical past concerning the R…
Memorializing the holocaust in Britain
Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art
The recent proliferation of studies of French representations of the Holocaust, dominated by trauma studies and postmodern theory, has tended to privilege the survivor testimony of Robert Antelme (author of L'Espèce humaine), the critical work of Maurice Blanchot on the unnameable and a Levinassian ethics of the other. In this article I would like to focus on a different strand in post-Holocaust art and theory in France in which the significant i…
Entretien avec joana hadjithomas et khalil joreige: Je veux voir
Additional informationNotes on contributorsMax SilvermanJoana Hadjithomas and Khalil Joreige are filmmakers and artists, producing cinematic and visual artwork that intertwine. They have directed multi-awarded films such as Khiam 2000–2007 (2008), A Perfect Day (2005), Je veux voir (I want to see, 2008), and The Lebanese Rocket Society. Their artwork has been shown in many museums, biennials, and art centers around the world and is part of many p…
The Violence of the Cut: Michael Haneke’s Caché and Cultural Memory
Michael Haneke’s film Caché (2005) treats the cut in a number of ways. There are the violent physical cuts that punctuate the film, violent cuts in the ties binding one character to another, the cuts that mark out the dividing lines between the protected zone of Georges’s bourgeois life and the outside world, and, finally, the filmic cut which splices up the world into disconnected images. In this article, I will argue that the cut is central to …
The Dreyfus affair: One hundred years on 1
L'annee 1994 constitue le centieme anniversaire de l'Affaire Dreyfus en France et l'A. se propose de mettre en parallele la situation d'il y a un siecle et celle d'aujourd'hui. L'antisemitisme n'est pas un phenomene naturel dont l'origine serait a chercher dans des societes non-democratiques. C'est au contraire un phenomene social qui prend differentes formes selon les contextes sociaux. A l'epoque de l'Affaire Dreyfus comme aujourd'hui, l'antise…
Race' in question
The Dreyfus affair: One hundred years on 1
L'annee 1994 constitue le centieme anniversaire de l'Affaire Dreyfus en France et l'A. se propose de mettre en parallele la situation d'il y a un siecle et celle d'aujourd'hui. L'antisemitisme n'est pas un phenomene naturel dont l'origine serait a chercher dans des societes non-democratiques. C'est au contraire un phenomene social qui prend differentes formes selon les contextes sociaux. A l'epoque de l'Affaire Dreyfus comme aujourd'hui, l'antise…
Short notices
Archives de la présidence de la République, Ve République, Georges Pompidou (19 juin 1969–2 avril 1974), Archives nationales, 1996, 271 pp., 250 F., ISBN 2 11 003603 6 Archives du Rassemblement du Peuple Français, Fondation Charles de Gaulle, 1996 291pp., 100 F., ISSN 1266 2437 INSTITUT FRANÇAIS D'ARCHITECTURE, Archives d'architectes. Etat des fonds, XIXe‐XXe siècles, Archives de France/La Documentation Française, 1996, 320 pp., 200 F., ISBN 2 11…
Memorializing the holocaust in Britain
Memorializing the holocaust in Britain: A response to David Cesarani
French Civilization and its Discontents: Nationalism, Colonialism, Race
Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art
The recent proliferation of studies of French representations of the Holocaust, dominated by trauma studies and postmodern theory, has tended to privilege the survivor testimony of Robert Antelme (author of L'Espèce humaine), the critical work of Maurice Blanchot on the unnameable and a Levinassian ethics of the other. In this article I would like to focus on a different strand in post-Holocaust art and theory in France in which the significant i…
Democracy in Modern France
Journal Article Democracy in Modern France Get access Max Silverman Max Silverman University of Leeds Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume LX, Issue 1, January 2006, Pages 161–162, https://doi.org/10.1093/fs/kni364 Published: 01 January 2006
The French Republic unveiled
How long can a beard be before it becomes a political weapon? How can one distinguish between a discreet and ostentatious deployment of signs of cultural difference? What signs of cultural identity are acceptable in the public sphere? In this article I shall argue that these questions can only be answered by understanding the French republican model. First, I shall suggest that France continues to 'veil' itself in a mythical past concerning the R…
Interconnected Histories: Holocaust and Empire in the Cultural Imaginary
Interconnections between fascism and colonialism and between antisemitism and colonial racism, perceived by post-war theorists of racialized violence such as Hannah Arendt and Aimé Césaire, have for a long time fascinated a number of writers and filmmakers in post-war France, yet their works are not often received from this point of view. This article considers Georges Perec's W ou le souvenir d'enfance (1975) and Patrick Modiano's Dora Bruder (1…
Knotted Intersections: Cixous and Derrida
History on the Side of the Powerless
The Violence of the Cut: Michael Haneke’s Caché and Cultural Memory
Michael Haneke’s film Caché (2005) treats the cut in a number of ways. There are the violent physical cuts that punctuate the film, violent cuts in the ties binding one character to another, the cuts that mark out the dividing lines between the protected zone of Georges’s bourgeois life and the outside world, and, finally, the filmic cut which splices up the world into disconnected images. In this article, I will argue that the cut is central to …
Frantz Fanon: Colonialism and Violence
Palimpsestic Memory: The Holocaust and Colonialism in French and Francophone Fiction and Film
Introduction: Staging Memory as Palimpsest Chapter 1. The Politics and Poetics of Memory 1.1 The Concentrationary Universe and Total Domination 1.2 The Politics of Memory: Between the Holocaust and Colonialism 1.3 The Poetics of Memory 1.4 Interconnecting Memories Chapter 2. Concentrationary Memory 2.1 Fearful Imagination 2.2 Alain Resnais's Nuit et brouillard 2.3 Memoire-monde Chapter 3. Anti-colonialism Revisited 3.1 Frantz Fanon: Peau noire ma…
Entretien avec joana hadjithomas et khalil joreige: Je veux voir
Additional informationNotes on contributorsMax SilvermanJoana Hadjithomas and Khalil Joreige are filmmakers and artists, producing cinematic and visual artwork that intertwine. They have directed multi-awarded films such as Khiam 2000–2007 (2008), A Perfect Day (2005), Je veux voir (I want to see, 2008), and The Lebanese Rocket Society. Their artwork has been shown in many museums, biennials, and art centers around the world and is part of many p…
The art of seeing in je veux voir
Made in the aftermath of the war in Lebanon of 2006, Je veux voir (Mille et une productions, 2008) is a road movie which pairs the icon of French cinema, Catherine Deneuve, with the Lebanese actor Rabih Mroué. He is her driver and guide, she is his muse. He is “at home” in his country, she is cocooned by her fame. But, like most road movies, these comfort zones will be disturbed by the encounter between different lives and, as the film's title su…
The Unspeakable: Representations of Trauma in Francophone Literature and Art
The Unspeakable: Representations of Trauma in Francophone Literature and Art." Modern & Contemporary France, 23(2), pp. 265–266
Frantz Fanon’s 'Black Skin, White Masks': New Interdisciplinary eassys
Frantz Fanon’s 'Black Skin, White Masks: New interdisciplinary essays
Latency in Lebanon, or bringing things (back) to life: A Perfect Day (Joana Hadjithomas and Khalil Joreige, 2005)
Many Lebanese films and documentaries of the last few decades have focused on the hidden legacies of the civil war (1975–1991) that remain unprocessed in public, and often private, life. Unsurprisingly, these works have often been discussed by critics through the lens of traumatic cultural memory. In the first part of this article I argue that this model is productive yet insufficient. I suggest, instead, a methodological approach which acknowled…
Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog
Since its completion in 1955, Alain Resnais’s Night and Fog ( Nuit et Brouillard ) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, id…
Margaret Atack (1948-2023)
Journal Article Margaret Atack (1948–2023) Get access Diana Holmes, Diana Holmes [email protected] https://orcid.org/0000-0001-9079-3582 Search for other works by this author on: Oxford Academic Google Scholar Max Silverman Max Silverman Search for other works by this author on: Oxford Academic Google Scholar French Studies, knae052, https://doi.org/10.1093/fs/knae052 Published: 28 March 2024
Occupation and resistance: In honour of Margaret Atack
Art (15 works) · History (12 works) · Sociology (12 works) · History (10 works) · Philosophy (10 works) · Political science (10 works) · Art history (8 works) · Law (8 works) · Law (8 works) · Philosophy (8 works)