This article looks at the Liberation Graphics Collection of Palestine Posters – a collection of 1600 ‘Palestine posters’ submitted to UNESCO’s Memory of the World programme during its 2014–2015 and 2016–2017 rounds. Despite receiving unanimous support for inscription, this nomination was effectively vetoed twice by UNESCO’s Director-General. The Collection frames the Palestine poster as ‘an essential medium through which Palestinians communicated their aspirations and international supporters expressed their solidarity’. Among these aspirations is a desire to identify and expose Israeli memoricide (‘the killing of memory’). Importantly, symbols like the house-key and olive tree transform otherwise mundane objects into potent signifiers calling attention to how memoricidal processes impacted spaces beyond the high-profile. Conversely, by drawing upon Zionist posters collected within the more expansive Palestine Poster Project Archives online, my analysis also explores the reconstructive side of memoricide. These materials simultaneously facilitate and obfuscate the killing of memory. Memoricide becomes normalised, a mundane (and thus invisible) facet of everyday life, practised by ordinary people.
This article is concerned with the experiences of domicide—that is, the suffering caused by the deliberate destruction of home by human agency in pursuit of certain objectives—faced by Palestinians as a legacy (as well as in the present) of the ongoing conflict with Israel. Existing scholarly and activist research provides some essential data about these experiences, but intellectual contributions remain primarily focused on the act of demolition or displacement. This act alone does not constitute ‘domicide’. What must follow is an attempt by the displaced to grapple with the whole affective dimension of being forcibly separated from home and the symbolic and creative responses that it begets. The significance house-keys have acquired within Palestinian inter-familial and communal customs, as well as within cultural (re)production, provides insight into this suffering. Attachment to the house-key is viewed as emblematic of feelings towards the lost home—a continuation of that connection by other means. This article explores the range of ways ation of the key’s symbolic value has been reconfigured as it permeates different arenas of cultural production and activity, and how the keys have come to embody both loss of home and resistance of the goals of Israeli domicide.
Memoricide, it seems, is memory made rubble and ash. Its emblematic imagery is of scenes many would find familiar: burning ash-snow from Sarajevo’s Vijecnica; satellite images of Palmyra’s missing structures; the exploding Bamiyan Buddhas. Physically altering space is understandably a highly visible tactic. However, when explicitly built into definitions, the emphasis on physical destruction has been on specific forms targeted: archival institutions, monuments, memorials and heritage sites. This article revisits memoricide as a range of converging physical, social and discursive strategies. It introduces ‘everyday’ memoricide – the normalisation of memory erasure as mundane practices – which ordinarily masks its intelligibility as memoricide through ‘common sense’ or ‘greater good’ discursive frames. The sacred Djab Wurrung trees, threatened by the Victorian State Government’s Western Highway project, and a felled Directions Tree in particular, provide a still unfolding case study within the broader history of Australian memoricide.
This entry surveys the literature on representations of rape and sexual violence in film and television. It covers the critical analysis of threats and/or practices of sexual violence as a plot device as well as its heavily gendered dimensions—that is, as acts typically involving a male perpetrator and a female victim. Acts that deviate from this understanding tend to be comparatively underrepresented in academic and popular media domains. Particular attention is paid to how sexual violence and consent are framed within popular media and how these are complicated by science fiction and fantasy plots that portray supernatural violations of consent as well as characters who represent intersectional identities.
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