Sue Vice's research while affiliated with The University of Sheffield and other places

Publications (31)

Article
This article examines the wartime fate of the Jews in Belarus as it is represented in Svetlana Alexievich's ‘documentary fiction’. It asks whether the Jewish experience, as reported by survivors, rescuers and bystanders, is presented as part of a broad Soviet history, or, as western readers might expect, as a central part of the Holocaust. The arti...
Chapter
This chapter addresses some of the interviews filmed by Claude Lanzmann and his crew during the making of Shoah (1985) but excluded from the final film. These are the encounters with four individuals associated in varying and conflicting ways with the American rescue campaigns and creation of the War Refugee Board in the USA in 1944: Peter Bergson,...
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Full-text available
This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained interviews, absence of location footage and reliance on...
Article
Full-text available
This article examines a range of Barry Hines’s works set in Sheffield to argue for the city’s palimpsestic function, in relation to its spatial and temporal identity and broader symbolic role. Throughout, we will draw on sources including material from Hines’s archive, held at the University of Sheffield, and that of his long-term collaborator Ken...
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Full-text available
This article asks what the reasons are for the frequent linking of the image of the Holocaust with that of dementia in contemporary discursive and representational practice. In doing so, it analyses some of the numerous 21st-century examples of fiction, drama and film in which the figure of a Holocaust survivor living with dementia takes centre sta...
Article
This article examines the contemporary phenomenon of fiction and film about Holocaust survivors suffering from dementia. Earlier examples of this kind use dementia to explore the interior states of survivor guilt and the suppression of painful memories. By contrast, twenty-first-century representations convey the passing on of Holocaust memory to t...
Article
This essay analyses two twenty-first century novels, Claire Hajaj’s Ishmael’s Oranges (2014) and Jemma Wayne’s Chains of Sand (2016), to explore the ways in which they attempt to make personal, intercultural relations take a political form. Each does so by representing relationships between Muslims and Jews in Britain which are inextricable from th...
Article
This article considers the reasons for the paucity, by contrast to the literature of the wartime ghettos and camps, of cultural representations of the Einsatzgruppen murders. It does so by analysing those representations that do exist, in the form of memoirs, poetry and fiction by eyewitnesses and survivors, as well as a diary kept by a bystander t...
Chapter
This chapter traces the effects of Thatcherism on Hines’s work, and on the region and communities he depicts. His screenplay for the 1981 film Looks and Smiles takes an art-cinematic form to explore the pressures of the era’s unemployment on young people, in his fourth and final collaboration with Ken Loach, while the unproduced play Fun City offer...
Chapter
The death of Barry Hines was announced on 20 March 2016, and the tributes in print and on social media were heartfelt and wide-ranging. Hines’s work was lauded by well-known personalities such as the actor Kathy Burke, who likened him to ‘JK’ (Rowling), while the Barnsley-born novelist Joanne Harris noted how she ‘hated and loved him at the same ti...
Chapter
While this book is by no means a biography, the importance of environment in Barry Hines’s writing means that insight into his background and the journey to his writing career introduces us to the recurrent preoccupations of his work. The son and grandson of a miner, Hines grew up in Hoyland Common, a pit village between Rotherham and Barnsley in t...
Chapter
This chapter traces the roots of Barry Hines’s poetic realist style in those examples of his writing which appeared before A Kestrel for a Knave (1968). These include the 1965 play Billy’s Last Stand , which gives an absurdist form to its social-realist content, and Hines’s first novel The Blinder (1966), in which his abiding theme of the battle be...
Book
This book analyses all of Barry Hines’s written works, including fiction, screenplays for film and television and scripts for the theatre. We draw on Barry Hines’s archive, in which appear several novels and screenplays which were never published or produced. We argue throughout that Hines’s best-known works are deservedly his 1968 novel A Kestrel...
Chapter
This chapter focuses on a period of extremely fruitful aesthetic production for Hines, in terms of the novels and screenplays that followed A Kestrel for a Knave . During the 1970s, Hines’s political energies were directed towards considering the institutions and structures of life at a time of active struggle for workers’ rights. Thus industrial a...
Chapter
This chapter explores Hines’s conception of Britain after the miners’ strike, and the difficulty he experienced in fictionalising those divisive events. While his 1994 novel The Heart of It is a metafictional account of a writer’s coming retrospectively to understand the strike through his father’s experience, three plays Hines wrote about it remai...
Chapter
In Barry Hines’s final two films with Ken Loach, The Gamekeeper (1980) and Looks and Smiles (1981), the spaces of South Yorkshire, photographed by Chris Menges, are constructed with what seem to be the social-realist or even documentary techniques of long shots of rural and urban landscapes alternating with close-ups, filmed using natural lighting...
Chapter
This chapter asks whether the lower-middle-class setting of Simon Amstell’s BBC series Grandma’s House (2010/12) has a more central significance for its plot and aesthetics than is usually acknowledged. Such a formation, defined by Marx as ‘hovering’ between the proletariat and the middle class, is represented ambivalently throughout. The self-refl...
Chapter
Holocaust literary consciousness is often described as coming into its own from the 1970s onwards, and especially so after 1993, described in hindsight as ‘the year of the Holocaust’.¹ These dates have particular significance in a North American context, since they take for granted the importance of such events as the broadcast of the 1978 televisi...
Article
This article analyses how the topography of various kinds of wartime camp are represented in British narratives. It does so in order to explore whether a specifically British experience or viewpoint is evident in these texts. The camps under discussion include the internment camps, established from 1940 onwards on British soil for the incarceration...
Chapter
In this chapter we explore different media in our approaches to the North, including a pair of linked television plays presented under the title The Price of Coal (Ken Loach, 1977), written by Barry Hines; these are alongside two literary texts, Philip Hensher’s 2008 novel, A Northern Clemency, and David Peace’s GB84 of 2004. We argue that a dynami...

Citations

... For example, in some countries (United States and United Kingdom) that historically were among the Allies, there may be more emphasis on the role of the liberators than, for example, on the events experienced by the countries occupied by Nazi Germany. Similarly, the history of the resistance to German occupation in Western European countries, for instance, may be given more emphasis than the mass killings committed in Eastern Europe (the so-called 'Holocaust by bullets') (Lawson, 2017;Vice, 2019). Finally, it is important to remember that conflicting cultural memories within the same country can lead to approaching the history and memory of the Holocaust in different ways, possibly with distorting outcomes depending on the political or ideological agendas that may sometimes underlie a specific memory policy. ...