Category Archives: Anti-Semistism

Traces: Representations of the Holocaust and Antisemitism in British Film and Television

Research, Educate, Engage

Traces: Representations of the Holocaust and Antisemitism in British Film and Television

In collaboration with the British Jewish Contemporary Cultures Network and supported by Birkbeck Institute for the Moving Image

Speakers: Nathan Abrams, Bangor University; James Jordan, University of Southampton; Caroline Kaye, University of Manchester; Sue Vice, University of Sheffield.
Date: Wednesday 8 November 2017
Time: 12.00 noon – 5.00 pm
Venue: Birkbeck, University of London, Birkbeck Cinema, 43 Gordon Square, London, WC1E 0PD.
Event open to all: Registration fee: £5.00 for students and unwaged and £10.00 for all other attendees. A light lunch will be provided. Book your place.
The representation of the Holocaust and antisemitism in British film and television has been relatively overlooked. This illustrated workshop attempts to address this gap by screening and discussing a range of texts that examine memories of the Holocaust and antisemitism in Britain in a variety of forms. Some of these texts are explicit in their representations, others are works that make no extant claim to represent it. They include the British television drama Twist of Fate (1989), the 1973 horror film, The Wicker Man and the work of director Stanley Kubrick. Taking these texts as a starting point for discussion, this workshop presents a timely intervention into current debates about the Holocaust and antisemitism within British media and culture.



  • ‘Life Functions Terminated’: Stanley Kubrick, IBM and the Holocaust, Nathan Abrams, Bangor University
  • The Ghetto and the Camp: a consideration of BBC Television’s Representation of the Holocaust in the 1960s, James Jordan, University of Southampton
  • The Wicker Man (1973): Film Reflecting the Holocaust, Caroline Kaye, Manchester Metropolitan University
  • Twist of Fate (BBC 1989): The Holocaust Survivor Who is Really a Perpetrator, Sue Vice, University of Sheffield

Click here for further information.


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The Yid

Please be offended–be offended by the title, be offended by the behaviour of the characters, by the way the author plays with history, with the literary history of Russia and Yiddish culture, but be really offended by the way Stalin treated so many of the citizens of the Soviet Union.  If you are the ending will satisfy you, and bring a fantstical catharsis to the way you think about Uncle Joe the next time you think about him.
This is a funny book.  Funny in a Coen brothers way–as people are murdered/righteously killed by these actors and clowns.  It’s a violent book.
It’s a riotous joy to read.

From the author’s website:
“MOSCOW, FEBRUARY 1953. A week before Stalin’s death, his final pogrom is in full swing. Three government goons arrive in the middle of the night to arrest Solomon Shimonovich Levinson, an actor from the defunct State Jewish Theater. But Levinson, now an old man, is a veteran of past wars, and his shocking response to the intruders sets in motion a series of events both zany and deadly as he proceeds to assemble a ragtag group to help him enact a mad-brilliant plot: the assassination of a tyrant.”


New York Times
“Soon there is a core group determined to stop the deportation and pogrom that could become Stalin’s last gift to Russian Jews…The Yid is about Stalin’s worst enemy as well as his favorite prey. Mr. Goldberg fuses these characters and all that they suggest to Stalin—Paul Robeson for Lewis, Anna Akhmatova for one of the book’s women—into one hellish vision to haunt that dictator during his last hours on earth. So he gets one last gift, too.”

Maureen Corrigan at NPR
“‘The Yid’ doesn’t play nice. In fact, it plays fast and loose with history as well as with conventional approaches to writing about anti-Semitism and genocide.

More reviews



Pears Institute for the study of Antisemitism, Birkbeck, University of London
 This timely conference will examine the interaction between Zionism and antisemitism as it has developed from the late nineteenth century through to the present day. We are interested in exploring this interaction as it developed among Zionists and antisemites, and among Jews and non-Jews more broadly. We welcome proposals that consider this theme as it has developed in theory, in practice, and in the manifold domains of cultural representation.We seek contributions from across the range of disciplines including history, political science, literary and cultural studies, anthropology, sociology and theology. The conference is open to scholars at any stage of their career, from PhD students to established scholars. Proposals from independent scholars are also welcome.

Speakers will be provided with accommodation in London as well as support towards their travel costs.

 Deadline for paper proposals: 14 November 2016.

A paper proposal of 200-300 words, together with a brief CV or biography, (of no more than one page) should be sent to Elaine Hudson 14 November 2016.

Full information on the conference and call for papers is on the Pears Institute website:


Which is the Merchant Here?

Look out for Which is the Merchant Here? On the Myth of the Medieval Jewish Moneylender by Julie Mell.


Fifty Years Later, Why Does ‘Eichmann in Jerusalem’ Remain Contentious? –

Each week in Bookends, two writers take on pressing and provocative questions about the world of books. This week, Adam Kirsch and Rivka Galchen on why Hannah Arendt’s “Eichmann in Jerusalem” remains contentious fifty years after it was first published.

via Fifty Years Later, Why Does ‘Eichmann in Jerusalem’ Remain Contentious? –