Janet Walker is Professor of Film Studies at the University of California, Santa Barbara, where she is also affiliated with the Women's Studies Program. Her other books as author or editor are Couching Resistance: Women, Film, and Psychoanalytic Psychiatry (1993), Feminism and Documentary (with Diane Waldman, 1999), and Westerns: Films through History (2001).

"A well-researched, elegantly written and original book. Walker offers extremely nuanced and insightful readings that call on her expertise as film historian, feminist theorist and psychoanalytic scholar. The breadth of the book's reach will expand the vernacular of documentary studies in a most significant way." - Michael Renov, author of The Subject of Documentary"

• Acknowledgments Preface PART I. THE TRAUMATIC PARADOX Chapter 1. Catastrophe, Representation, and the Vicissitudes of Memory PART II. PERSONAL MEMORY: THE CASE OF INCEST Chapter 2. The Excision of Incest from Classical Hollywood Cinema: Kings Row and Freud Chapter 3. Incest on Television and the Burden of Proof: Sybil; Shattered Trust: The Shari Karney Story; Liar, Liar; and Divided Memories Chapter 4. Strange Bedfellows--Incest in Trauma Documentaries: Daughter Rite; Some Nudity Required; the Electronic Diary Series; Just, Melvin; and Capturing the Friedmans PART III. THE PERSONAL IS PUBLIC HISTORICAL: (AUTO)BIOGRAPHIES OF THE HOLOCAUST Chapter 5. The Last Days Is Not Shoah--Experiments in Holocaust Representation: The March and Tak for Alt Chapter 6. Disremembering the Holocaust: Everything's for You, Second Generation Video, and Mr. Death Conclusion Notes Bibliography Video/Filmography Index

Janet Walker is Professor of Film Studies at the University of California, Santa Barbara, where she is also affiliated with the Women's Studies Program. Her other books as author or editor are Couching Resistance: Women, Film, and Psychoanalytic Psychiatry (1993), Feminism and Documentary (with Diane Waldman, 1999), and Westerns: Films through History (2001).

"A well-researched, elegantly written and original book. Walker offers extremely nuanced and insightful readings that call on her expertise as film historian, feminist theorist and psychoanalytic scholar. The breadth of the book's reach will expand the vernacular of documentary studies in a most significant way." - Michael Renov, author of The Subject of Documentary"

• Acknowledgments Preface PART I. THE TRAUMATIC PARADOX Chapter 1. Catastrophe, Representation, and the Vicissitudes of Memory PART II. PERSONAL MEMORY: THE CASE OF INCEST Chapter 2. The Excision of Incest from Classical Hollywood Cinema: Kings Row and Freud Chapter 3. Incest on Television and the Burden of Proof: Sybil; Shattered Trust: The Shari Karney Story; Liar, Liar; and Divided Memories Chapter 4. Strange Bedfellows--Incest in Trauma Documentaries: Daughter Rite; Some Nudity Required; the Electronic Diary Series; Just, Melvin; and Capturing the Friedmans PART III. THE PERSONAL IS PUBLIC HISTORICAL: (AUTO)BIOGRAPHIES OF THE HOLOCAUST Chapter 5. The Last Days Is Not Shoah--Experiments in Holocaust Representation: The March and Tak for Alt Chapter 6. Disremembering the Holocaust: Everything's for You, Second Generation Video, and Mr. Death Conclusion Notes Bibliography Video/Filmography Index