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The Nazis' persecution of the Jews during the Holocaust included the creation of prisoner hierarchies that forced victims to cooperate with their persecutors. Many in the camps and ghettos came to hold so-called "privileged" positions, and their behavior has often been judged as self-serving and harmful to fellow inmates. Such controversial figures constitute an intrinsically important, frequently misunderstood, and often taboo aspect of the Holocaust. Drawing on Primo Levi's concept of the "grey zone," this study analyzes the passing of moral judgment on "privileged" Jews as represented by

The influence of Primo Levi's writing on the 'grey zone' has only sharpened over the last decade, not only in terms of its broader application to human rights contexts beyond the Holocaust, but also through a greater focus on the question of how to understand the behaviour of so-called 'privileged' prisoners in the Nazi camps and ghettos. History has shown a court of law to be an inadequate setting for negotiating the complexities of the ethical dilemmas forced on victims in extremis, and substantial problems of judgement and representation have plagued efforts to understand these liminal figures elsewhere. This article examines the tensions within Levi's writings and maps these onto attempts to represent the 'grey zone' in Holocaust films. Engaging in particular with Margarethe von Trotta's critically acclaimed feature film Hannah Arendt (2012) and Tor Ben-Mayor's lesser known documentary Kapo (1999), I highlight how these distinct approaches to depicting 'privileged' Jews expose the fraught nature of portraying victim complicity on screen.

One moving image, a video of events in Syntagma Square in 2011, shows a swarm of points of green light, created by laser pointers directed at the architecture surrounding the square from within the crowd, and a second still image with the word "˜thieves,' constructed from an array of red dots, is again projected onto the wall of Parliament, the location of speech. The laser pointer, a device intended to trace the progress of speech, and reinforce the agency of the individual speaker in a static visual presentation, is repurposed in the context of civil disturbance to both blind the agents of dominance and stigmatize the architects of crisis. In doing so, an implement of visibility and authority, a straight line emanating from the space of the logos, becomes implicated in the delineation and representation of the space of the public.This paper represents an attempt to explore and create continuities and discontinuities between the binding-together of individual lasers/pixels in an assemblage, the chaotic movement of the individual laser/pixel, and the concerted activity of people acting in solidarity or chaotic revolt. The paper is constructed in order to implicate the carrier signal – the page, the screen – in the network which founds and funds both order and its opposites, as itself an active agent and producer of its own collectivities.

Adam R. Brown examines constitutional specificity - or length - within American state constitutions as a new way to evaluate how different polities confront how to both control citizens and regulate themselves. He argues that constitutional specificity restricts state discretion, with three major results.

Adam R. Brown examines constitutional specificity - or length - within American state constitutions as a new way to evaluate how different polities confront how to both control citizens and regulate themselves. He argues that constitutional specificity restricts state discretion, with three major results.

Cover; Title Page; Copyright Page; Contents; List of Figures; List of Tables; Acknowledgments; Introduction; 1. A Church and a State; 2. A State and a Nation; 3. A Peculiarly Republican People; 4. Legislating in the People's Branch; 5. Representing Competing Voices; 6. Legislating at the Ballot Box; 7. The Most Powerful Governor; 8. Judges and Courts; 9. Local Governments; 10. A Multibillion-Dollar Budget; 11. Different People, Similar Processes; Appendix 1; Appendix 2; Notes; Bibliography; Index