Images of occupation in Dutch film - Wendy Burke - ebook

Images of Occupation in Dutch Film is the first book in English to examine changing representations of the German wartime occupation of the Netherlands within Dutch post-war feature films made in the period 1962 to 1986. This important new study explores in detail the complex, evolving role played by film within Dutch cultural memory and asks to what extent film can fully embrace, transmit or assimilate the complexities and collective legacies of war and occupation. As Dutch public opinion towards the war altered over the post-war decades - attitudes to the 1940-1945 occupation, Jewish persecution, the enemy, deprivations, resistance and collaboration - so too shifted the presence - or indeed absence - of these elements in subsequent films. The historical trajectory of Dutch recovery and reconstruction: politically, economically and - most complex of all - psychologically, came to be revealed, often unconsciously, in the films from that time. Through detailed analyses of eight key film…

Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers's oeuvre, which spans 'art' cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but psychoanalytic theories on desire and fantasy are employed to put this idea into perspective. In the vein of cinephilia, this study brings together canonical titles (ALS TWEE DRUPPELS WATER; SOLDAAT VAN ORANJE) and little gems (MONSIEUR HAWARDEN; KRACHT). It juxtaposes among others GLUCKAUF and DE VLIEGENDE HOLLANDER (on father figures); FLANAGAN and SPOORLOOS (on rabbles and heroes); DE AANSLAG and LEEDVERMAAK (on historical traumas); ANTONIA and BLUEBIRD (on aphanisis).