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Sonja L. Mekel

conducted with, among others, several of the filmmakers’ children, giving it a personal touch. Unfortunately, Driven to Darkness is marred by serious methodological weaknesses. Brook’s interpretations are often extremely far-fetched: to make his case that Fritz Lang’s M was the “First Film Noir” (71

Jennifer Hansen-Glucklich

existing literature on Holocaust representation, this volume adds a specific, methodologically sharp, and insightful point of view: the perspective of the “post-witness” and “post-memory” generations. This perspective will increasingly inform Holocaust discourse in the future; this volume, therefore

David Sperber

[. . .]” (330). The conclusions that Chinski drew are likely correct, but cannot be proven as fact from one particular case; at most, she provided one example. The methodology in this appendix is very characteristic of Chinski: she took one case, embellished it with a number of similar references from different

Maya Balakirsky Katz

interest in “experience” is at the core of visual culture methodologies, first incorporated into Jewish art history under the curatorial direction of Avram Kampf in the 1975 Jewish Museum exhibition “The Jewish Experience in the Art of the Twentieth Century” for the express purpose of wedding political

Batsheva Goldman-Ida

combining anthropology and art is becoming more and more current. 29 More broadly, my work underlines the importance of taking into consideration the object name in the dialect of a group of users when establishing the geographic spread of an object form. The methodology used here can be extended, for

Stanley Tigerman

industrial look institutionalized by modernism that expresses—but does not celebrate—structure, duct- ing, piping, and conduit; a methodology that harkens back to an era when industrialization was still novel, establishing the uncompromising look of (among other structures) those six undecorated death camps

Maya Balakirsky Katz

fine arts. 12 Fig. 2. Exhibition wall decal of photograph originally taken at Beit Bialik. Photograph: Maya Balakirsky Katz. The dolls on display represent a wide range of materials and craft methodologies, and the exhibition panels pay close attention to the processes of creation. Fanny

Maya Balakirsky Katz

of emotions (as in Victoria E. Bonnell’s critique on the use of emotion through the representation of a direct gaze in Soviet Political Posters) to the artist’s tool box. 7 Ironically, this de-politicized analysis of artistic methodologies allows Israel’s labor history to make an appearance rather

Peter Chametzky

Since the 1990s, the relationship between Jewish identity and what the editors of this volume call “the paradoxical problems of representation in modern art” has received increased study, stimulated by the growing interest in ethnic and gender-based methodologies and the decreased prestige of