Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds. Her publications include Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures (2013). Pollock is Series Editor of Bloomsbury's New Encounters Series.Max Silverman is Professor of Modern French Studies at the University of Leeds. His publications include Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film (2013). Griselda Pollock and Max Silverman are joint authors of Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011. They are also joint editors of Concentrationary Memories: Totalitarian Terror and Cultural Resistance, the first of three volumes on the Concentrationary in New Encounters Series, of which Concentrationary Imaginaries is the second to be published.

• List of Illustrations AcknowledgementsSeries Preface: Concentrationary Memories: The Politics of Representation, Griselda Pollock and Max SilvermanIntroductionA Concentrationary Imaginary?, Griselda PollockPart I. Thinking1. Framing Horror, Adriana Cavarero2. Between Realism and Fiction: Arendt and Levi on Concentrationary Imaginaries, Olivia Guaraldo3. Totality, Convergence, Synchronization, Ian JamesPart II. Desire4. Wrap me up in Sadist Knots: Representations of Sadism—From Naziploitation to Torture Porn, Aaron Kerner5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavani’s The Night Porter (1974), Griselda PollockPart III. Camp6. Seep and Creep: the Concentrationary Imaginary in Martin Scorsese’s Shutter Island (2010), Benjamin Hannavy Cousen7. Haneke and the Camps, Max Silverman 8. Spec(tac)ularizing ‘Campness’: Nikita and La Femme Nikita the Series, Brenda HollwegNotesBibliographyNotes on ContributorsIndex

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Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds. Her publications include Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures (2013). Pollock is Series Editor of Bloomsbury's New Encounters Series.Max Silverman is Professor of Modern French Studies at the University of Leeds. His publications include Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film (2013). Griselda Pollock and Max Silverman are joint authors of Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011. They are also joint editors of Concentrationary Memories: Totalitarian Terror and Cultural Resistance, the first of three volumes on the Concentrationary in New Encounters Series, of which Concentrationary Imaginaries is the second to be published.

• List of Illustrations AcknowledgementsSeries Preface: Concentrationary Memories: The Politics of Representation, Griselda Pollock and Max SilvermanIntroductionA Concentrationary Imaginary?, Griselda PollockPart I. Thinking1. Framing Horror, Adriana Cavarero2. Between Realism and Fiction: Arendt and Levi on Concentrationary Imaginaries, Olivia Guaraldo3. Totality, Convergence, Synchronization, Ian JamesPart II. Desire4. Wrap me up in Sadist Knots: Representations of Sadism—From Naziploitation to Torture Porn, Aaron Kerner5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavani’s The Night Porter (1974), Griselda PollockPart III. Camp6. Seep and Creep: the Concentrationary Imaginary in Martin Scorsese’s Shutter Island (2010), Benjamin Hannavy Cousen7. Haneke and the Camps, Max Silverman 8. Spec(tac)ularizing ‘Campness’: Nikita and La Femme Nikita the Series, Brenda HollwegNotesBibliographyNotes on ContributorsIndex

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Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds. Her publications include Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures (2013). Pollock is Series Editor of Bloomsbury's New Encounters Series.Max Silverman is Professor of Modern French Studies at the University of Leeds. His publications include Palimpsestic Memory: the Holocaust and Colonialism in French and Francophone Fiction and Film (2013). Griselda Pollock and Max Silverman are joint authors of Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's 'Night and Fog', which won the Kraszna-Krausz Award for Best Book on the Moving Image, 2011. They are also joint editors of Concentrationary Memories: Totalitarian Terror and Cultural Resistance, the first of three volumes on the Concentrationary in New Encounters Series, of which Concentrationary Imaginaries is the second to be published.

• List of Illustrations AcknowledgementsSeries Preface: Concentrationary Memories: The Politics of Representation, Griselda Pollock and Max SilvermanIntroductionA Concentrationary Imaginary?, Griselda PollockPart I. Thinking1. Framing Horror, Adriana Cavarero2. Between Realism and Fiction: Arendt and Levi on Concentrationary Imaginaries, Olivia Guaraldo3. Totality, Convergence, Synchronization, Ian JamesPart II. Desire4. Wrap me up in Sadist Knots: Representations of Sadism—From Naziploitation to Torture Porn, Aaron Kerner5. Redemption or Transformation: Blasphemy and the Concentrationary Imaginary in Liliana Cavani’s The Night Porter (1974), Griselda PollockPart III. Camp6. Seep and Creep: the Concentrationary Imaginary in Martin Scorsese’s Shutter Island (2010), Benjamin Hannavy Cousen7. Haneke and the Camps, Max Silverman 8. Spec(tac)ularizing ‘Campness’: Nikita and La Femme Nikita the Series, Brenda HollwegNotesBibliographyNotes on ContributorsIndex

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