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In this paper I address the intertwining of psychoanalysis and the political, moral and personal imperative to remember in the German-Jewish experience. I suggest that a legacy of shame and responsibility links generations of postwar Germans and German immigrants, and forms part of the collective and ongoing memory of Germany's perpetration of the Holocaust. I draw on recent social and philosophical debate as well as contemporary political events to examine the complicated transmission of shame and responsibility. I draw on autobiographical memory and clinical examples as a second-generation German-Canadian psychoanalyst to consider the impact of German cultural identity on the practice of psychoanalysis in the German-Jewish experience. Using a perspective grounded in philosophical hermeneutics and psychoanalysis, I illustrate the personal, psychological, and political ramifications of Germany's “unmasterable past” and consider the impact of Germany's role as the perpetrator of the Holocaust for subsequent generations and across geographical contexts.
In this paper I address the intertwining of psychoanalysis and the political, moral and personal imperative to remember in the German-Jewish experience. I suggest that a legacy of shame and responsibility links generations of postwar Germans and German immigrants, and forms part of the collective and ongoing memory of Germany's perpetration of the Holocaust. I draw on recent social and philosophical debate as well as contemporary political events to examine the complicated transmission of shame and responsibility. I draw on autobiographical memory and clinical examples as a second-generation German-Canadian psychoanalyst to consider the impact of German cultural identity on the practice of psychoanalysis in the German-Jewish experience. Using a perspective grounded in philosophical hermeneutics and psychoanalysis, I illustrate the personal, psychological, and political ramifications of Germany's “unmasterable past” and consider the impact of Germany's role as the perpetrator of the Holocaust for subsequent generations and across geographical contexts.
• Remixed methodologies in film projects, informed by research in Indigenous and feminist geographies, can resituate knowledge production in the context of relationships with Indigenous communities. • Indigenous community-university collaborations should centre community goals, prioritizing interpretation and dissemination of results within contemporary Indigenous community contexts. • Archival ethnographic materials, including film, in settler institutions can be reclaimed and reconfigured through processes of Indigenous cultural revitalization. This paper explores how remixed methodologies can inform research in Indigenous communities using short films, combining archival and contemporary footage. Drawing on the lineages of Indigenous and feminist community-based research methodologies, we develop a three-part conception of remixed methodologies. We emphasize, first, the need to resituate the process of knowledge production within relationships between researchers and Indigenous community members. Second, we stress the importance of reconsidering the intended outputs of community-university collaboration to centre community goals. Third, we underscore how remixed methodologies can disrupt the narratives surrounding settler colonial archival resources, resituating historical footage with relation to contemporary Indigenous contexts. We apply this framework to our collaborative work with the Witsuwit'en Cultural and Language Authority and the Office of Aboriginal Education at British Columbia School District #54, combining archival and contemporary films to create Indigenous education resources. Specifically, we remixed footage of Witsuwit'en traditional activities from two 1927 National Museum of Canada films with contemporary interviews and footage of Witsuwit'en governance and land use activities. We highlight how making archival films relevant to contemporary Indigenous community goals required disrupting the conventions of scholarly authority, designing collaborative outputs to suit community aims, and resituating knowledge production within the context of Witsuwit'en resilience in the face of colonialism.
Japan is currently undergoing a subtle but pervasive social upheaval, a period of broad structural reform and soul-searching triggered by the rigors of the collapse of the hyperinflated "Bubble Economy" of the late 1980s. As the nation confronts the irretrievable loss of that economic mass delusion, it is turning instead to the reclamation of a quality of life sacrificed for much of the 20 th century to national ambition for first military, and then economic pre-eminence. Historian Jeff Kingston has claimed that the ongoing changes, ranging from the reduction of working hours to the institution of freedom of information laws, have been equal in magnitude to those following the Meiji Restoration and Japan's defeat in World War II. Arguably, they represent the long-delayed fruition of postwar democratizing reforms. This dissertation examines the use to which Japanese have put American forms of popular music, particularly hip hop, in grappling with these changes. The influence of African-American music in Japan has been strong since the 1920s and 1930s, and came to full flower during and after Japan's surrender and subsequent occupation. African-American music-not just jazz, but rock, funk, and soul-eventually became a 'music of resistance,' connected to events such as the student protests that marked Japan in the 1960's, indicating the symbolic power of what black America represented for Japanese youth, over and above the political or military might of America as a nation. Hip hop, which reached Japan in the early 1980s and entered the mainstream by the mid-1990s, has shown the continued power of African-American sound and imagery in Japan. The uses and meanings of that power, though, are ambiguous. Hip hop in Japan today often means Japanese artists who imitate African-American styles and sounds. This imitation has been criticized by international commentators, condemned as contextless ACKNOWLEDGMENTS Like all major undertakings, this one is the product of the effort of many people in addition to the author. Primarily, I owe thanks to the state of Iowa, whose hardworking citizens funded this research through both the University of Iowa Presidential Fellowship and various travel and research grants through the Center for Asian Pacific Studies, the Graduate College, and Student Government. More direct assistance came from the many faculty members of the University of Iowa who contributed feedback and advice. In addition to my committee members, this included Barbara Biesecker and Stephen Vlastos.
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