Focusing on films produced in Sweden for primarily Swedish audiences, Wright analyzes how the portrayal of the relatively small Jewish minority has evolved over the years. She also compares the images of Jews in Swedish film with those of other ethnic subcultures: long-term resident communities such as tattare ('travelers', an indigenous pariah group often confused with gypsies), Finns, the Sami, and recent immigrant populations such as Greeks, Italians, Turks, and Yugoslavians. She is also the first scholar to discuss Ingmar Bergman's presentation of Jewish characters. Wright confronts important - and exceedingly difficult - social questions. She deals head-on with xenophobia, anti-Semitism, immigration, assimilation, ethnicity, multiculturalism, and the national self-image of Swedes as reflected in their cinema. She also analyzes the manner in which Swedish film represents the persecution of Jews in Nazi-dominated Europe.

The narrow street on which Harry Bernstein grew up was seemingly unremarkable; there was nothing to distinguish it from the hundreds of other such working class streets in the industrial north of England - save for an invisible wall down the middle, dividing Jews on one side, from Christians on the other. The geographical distance may have been a couple of yards, but socially, it was miles.'But there are few rules or unwritten laws that are not broken when circumstances demand, and few distances that are not too great to be travelled; and such was the case on our street. And I was to play an important part, unwittingly, in what happened...'THE INVISIBLE WALL is the enchanting story of Harry's childhood in a Lancashire mill town before the First World War. It's a wonderfully charming - and terribly moving - tale of working class life, of social divide and of forbidden love...

The Visible Ghost tells a tale of a scientist who has an accident inside his laboratory and dies. To his astonishment, and that of everyone else around him, he becomes a ghost who is visible for all to see with their eyes . . . all the time. He does not have the ability to become invisible. Another fascinating detail about him in his ghost form is that his appearance is 100 percent solid, like any living being around him. If someone were to stand next to him, they could have a conversation with him and not in any way ever suspect that he is, in fact, a ghost, because of how solid in form he appears to be. Being a scientist, this ghost is extremely intrigued, even in death, about being a ghost. He decides to investigate and document everything possible about being a ghost for others to understand before he disappears . . . which can be at any moment. At the very least, he has proven to the world that ghosts do, in fact, exist.

A haunting feminist sci-fi masterpiece and international bestseller that is “as absorbing as Robinson Crusoe” (Doris Lessing) While vacationing in a hunting lodge in the Austrian mountains, a middle-aged woman awakens one morning to find herself separated from the rest of the world by an invisible wall. With a cat, a dog, and a cow as her sole companions, she learns how to survive and cope with her loneliness. Allegorical yet deeply personal and absorbing, The Wall is at once a critique of modern civilization, a nuanced and loving portrait of a relationship between a woman and her animals, a thrilling survival story, a Cold War-era dystopian adventure, and a truly singular feminist classic.

The Chatter of the Visible examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it—a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres). McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition.

The book addresses the scientific debates on Rembrandt, Metsu, Vermeer, and Hoogstraten that are currently taking place in art history and cultural studies. These focus mainly on the representation of gender difference, the relationship between text and image, and the emotional discourse. They are also an appeal for art history as a form of cultural studies that analyses the semantic potential of art within discursive and social contemporary practices. Dutch painting of the seventeenth century reflects its relationship to visible reality. It deals with ambiguities and contradictions. As an avant-garde artistic media, it also contributes to the emergence of a subjectivity towards the modern “bourgeois”. It discards subject matter from its traditional fixation with iconology and evokes different imaginations and semantizations - aspects that have not been sufficiently taken into account in previous research. The book is to be understood as an appeal for art history as a form of cultural science that analyses the semantic potential of art within discursive and social contemporary practices, and, at the same time, demonstrates its relevance today. Works by Rembrandt, Metsu, Vermeer, Hoogstraten, and others serve as exemplary case studies for addressing current debates in art history and cultural studies, such as representation of gender difference, relationship between text and image, and emotional discourse.