1. 1102075f
Promoting Critical Analysis in British
Holocaust Education:
The Case of The Boy in the Striped Pyjamas
History MLitt
Public Humanities [HIST5121]
2nd
May 2016

2. Since the 1990s British public engagement with the Holocaust has surged and identified a need
for children to be educated on the subject. The first National Curriculum for History,
introduced in 1991, made Holocaust study mandatory in English and Welsh secondary schools.
An annual Holocaust Memorial Day (HMD) was established following a Stockholm conference
in 2000 which identified a need to commemorate Holocaust victims, honour those who stood
against it and educate future generations.1
In the same year, the London Imperial War Museum
opened the Holocaust Exhibition. Books and films representing the Holocaust have become
increasingly popular. For example Schindler’s List (1993), The Reader (2008) and The Boy in the
Striped Pyjamas (2006/2008) received several movie awards and are commonly used as educational
tools.
Two main issues have emerged regarding this Holocaust engagement growth. First, debate is
ongoing over the aim and method of Holocaust education: some teachers focus on the historical
narrative while others, seemingly a larger proportion, emphasise moral lessons.2
For example,
Ronnie Landau argues the Holocaust ‘perhaps more effectively than any other subject, has the
power to sensitise’ pupils ‘to the dangers of indifference, intolerance, racism and the
dehumanisation of others’.3
In contrast, Richard Evans feels ‘moral judgement’ is
‘inappropriate’, ‘arrogant’ and ‘presumptuous’.4
No approach is set by the National Curriculum
for History; it is up to the individual educator.5
Second, the frequent focus on moral education
and increasing representation of the Holocaust in popular culture, such as films and
commemoration ceremonies, makes some feel the Holocaust has been ‘sanitised’ for
consumption6
, resulting in a ‘loss of past’7
, ‘a waning of historical consciousness’8
and a ‘neglect
1 Holocaust Memorial Day [HMD] is held on the anniversary of the liberation of Auschwitz in January 1945.
2
Lucy Russel, Teaching the Holocaust in School History: Teachers or Preachers (London, Network Continuum: 2008)
3 Ronnie Landau, ‘No Nazis War in British History’, Jewish Chronicle, 25th August 1989
4 Richard Evans, author of In Defence of History (London, Granta Books: 1997), quoted in Russel, Teaching the
Holocaust, 3
5 Ibid.
6 Mark Levene, ‘Britain’s Holocaust Memorial Day: A Case of Post-Cold War Wish-Fulfillment, or Brazen
Hypocrisy?’ Human Rights Review, 7: 3 (2006), 33
7 Andrew Huyssen, ‘Monument and Memory in a Postmodern Age’, Yale Journal of Criticism, 6: 2 (1993), 253

3. of history’9
. With regard to secondary education, Dan Stone asserts the Holocaust has
undergone ‘infantilisation’ because it is now directed towards children in a manner ‘so didactic
and prescriptive’.10
These issues are exemplified in the debate surrounding the appropriateness of John Boyne’s The
Boy in the Striped Pyjamas being used as a Holocaust education tool.11
Originally a book, but
released as a film in 2008, it tells the story of 9 year old Bruno who befriends a Jewish inmate at
Auschwitz, Shmuel, after his family moves to a house outside the camp following his father’s is
promotion to camp commandant.12
When Bruno secretly enters the camp to help Shmuel find
his father, both children are put into a gas chamber and murdered. This essay uses Boyne’s
representation as a case study to investigate British secondary school children’s relationship with
the Holocaust: first, evaluating concerns over Holocaust engagement in a specific context;
second, demonstrating why and how these issues may be combatted in this particular case and,
hence, more widely. Ultimately, it is proposed that by using a range of sources and encouraging
critical analysis, Holocaust education will be more effective and balance historical facts and moral
lessons.
The Boy in the Striped Pyjamas in current Holocaust Education
The Boy in the Striped Pyjamas is influential and commonly used as a Holocaust educational tool. It
is explicitly promoted as a beneficial teaching resource and supplied to schools. For example,
Miramax and Film Education collaboratively run showings of the film and provide production
information online. Indeed, it appears The Boy in the Striped Pyjamas has a ‘second career in
8 Ibid., 253
9 Tony Judt, Reappraisals: Reflection on the Forgotten Twentieth Century (London, Vintage Books: 2009), 215
10 Dan Stone, ‘From Stockholm to Stockton: The Holocaust and/as Heritage in Britain’ in Caroline Sharples & Olaf
Jensen (eds.), Britain and the Holocaust: Remembering and Representing War and Genocide (Basingstoke, Palgrave Macmillan:
2013), 215
11 John Boyne, The Boy in the Striped Pyjamas (London, Definitions: 2006)
12 Mark Herman et al., The Boy in the Striped Pyjamas (Burbank CA, Miramax Home Entertainment: 2009)

4. education’.13
Michael Gray found 76 per cent of pupils in his study had either read the book or
watched the film and, in many cases, it heavily influenced their view of the Holocaust.14
However, according to Gray, The Boy in the Striped Pyjamas is a ‘curse’ to Holocaust education.15
The story is implausible and replete with historical inaccuracies. Bruno’s innocence and his
mother’s naivety regarding Auschwitz depict an outdated notion that Germans, notably women
and children, did not know what happened to Jews and other victims during the Third Reich
because it was carried out covertly and participants were brainwashed.16
There were not, as
Shmuel stated, ‘a lot of us – boys our age, I mean – on this side of the fence’ as, although
exceptional cases occurred, Jewish children were immediately gassed when reaching
extermination centres like Auschwitz.17
Shmuel’s daily appearance at the un-electrified and
unguarded perimeter fence is unrealistic, as is Bruno’s ability to enter the camp undetected.
Inmates’ suffering is not only downplayed by the false depiction of camp experience but side-
lined by the overall focus and dramatization of the story. Ultimately, the audience’s grief is
focused on Bruno and his parents: the camp commandant father who loses his son by mistake
and the mother who was oblivious to the camp’s purpose and nature, thus detracting from the
terrible fate of Shmuel and others who died in the gas chamber.18
The father’s responsibility for
thousands of deaths is almost forgotten. The humanisation of perpetrators is valuable,
counteracting the false view of them as deranged or sub-human, but here the ‘victim-perpetrator
universe is inverted’.19
Eric Santner calls this ‘narrative fetishism’ where ‘the construction and
deployment of a narrative [is] consciously or unconsciously designed to expunge the traces of the
13 Olaf Jensen, ‘The Holocaust in British Television and Film: a look over the Fence’ in Sharples & Jensen (eds.),
Britain and the Holocaust, 118
14 Gray, ‘The Boy’, 114
15 Ibid., 133
16 Jensen, ‘The Holocaust in British Television and Film’, 120
17 Boyne, The Boy in the Striped Pyjamas, 114
18 Ibid.
19 Stone, ‘From Stockholm to Stockton’, 215

5. trauma of loss that called that narrative into being in the first place’.20
Thus, while the book is
coined a ‘fable’, moral lessons are difficult to identify.21
David Cesarani asserts the only ‘moral to
the story is that you should keep a closer eye on your kids’.22
Furthermore, although encouraging
an emotional response, The Boy in the Striped Pyjamas distances the audience from the Holocaust.
The camp is portrayed as isolated when in reality it was ‘not a remote village… but a large town
at a main railway function’.23
With no references to individuals, groups or countries beyond the
camp, the story appears disconnected from the world: ‘the view remains a distant look over the
fence into the (artistically fabricated) horrors of Auschwitz’.24
Diana Popescu argues ‘in the absence of full evidence, one can only assume that an educated
public is able to distinguish between history and its cultural representation’.25
However, many
pupils are unable to differentiate between historical and fictional elements of the film, nor do
they draw moral lessons from it. When asked why the Holocaust ended, one boy responded ‘I
think it ended when one of the Nazi children died in the poisonous gas in the Jew camp’.26
38 of
298 students explicitly referred to The Boy in the Striped Pyjamas as evidence for what occurred in
the Holocaust.27
When asked to write about what they knew about Nazi treatment of Jews, one
wrote the film ‘gave a great insight into Jewish gas camps’, another stated ‘I learnt a lot about
concentration camps from’ it, and a third claimed ‘you can find out by watching The Boy in the
Striped Pyjamas.28
One pupil demonstrates confusion and grapples with the extent of truth: ‘it’s
based on a true story. There was a General’s son who bonded with one of the Jewish boys and
went in. I’m not sure if that’s actually true but I think it says at the beginning of the film it’s
20 Eric Santner, ‘History Beyond the Pleasure Principal: Some Thoughts on the Representation of Trauma’ in Saul
Friedländer (ed.), Probing the Limits of Representation: Nazism and the ‘Final Solution’ (Cambridge, Harvard University
Press: 1992), 144
21 The Boy in the Striped Pyjamas is described as a ‘fable’ on the title page of the book.
22 David Cesarani, ‘Striped Pyjamas’ (Book Review), Literary Review (2006)
23 Martin Gilbert, The Holocaust: The Jewish Tragedy (London, Collins: 1986), 287
24 Jensen, ‘The Holocaust in British Television and Film’, 123
25 Diana Popescu & Tanja Schult (eds.), Revisiting Holocaust Representation in the Post-Witness Era (Basingstoke, Palgrave
Macmillan: 2015), 2
26 Gray, ‘The Boy’, 117
27 Ibid., 114
28 Ibid., 115

6. based on a true story.’29
Some believed the story to be entirely true.30
Few comments include
analysis of the film and none challenge elements of the representation.31
Thus, not only did the
film provide an inaccurate representation of the Holocaust, its depiction was taken at face value
and used as a primary source of Holocaust information. Any attempt by the teacher to correct
historical inaccuracies and draw moral lessons failed, if any such attempt occurred, and pupils
were not critical of the resource.
Hence, academic criticisms, such as a ‘loss’ or ‘neglect’ of history in Holocaust engagement, seem
wholly founded in this case: The Boy in the Striped Pyjamas is frequently factually incorrect and
unrepresentative of history or current research on the Holocaust, instead trivialising the event
and supporting unrealistic and stereotypical views of the Third Reich. In addition, the film,
book or education surrounding these tools do not appear to encourage moral reflection or
critical thinking. Current use of The Boy in the Striped Pyjamas is an example where, as Tim Cole
stated, ‘partial and inadequate’ representations of the Holocaust are ‘positively harmful’.32
When
the film was released Monohla Dargis declared: ‘See the Holocaust trivialised, glossed over,
kitsched up, commercially exploited and hijacked for a tragedy about a Nazi family. Better yet
and in all sincerity: don’t.’33
The Boy in the Striped Pyjamas in future Holocaust Education
However, is not seeing The Boy in the Striped Pyjamas really the answer? No. While it is worrying,
indeed shocking, that it is often used as the principle source of Holocaust information, neither
the book nor the film should be dismissed entirely. It is important for children to engage with
The Boy in the Striped Pyjamas in schools along with a range of other resources. For instance, this may
29 Ibid., 116
30 Ibid., 116: for example, one boy exclaimed ‘it is true!’
31 Ibid.
32 Tim Cole, Images of the Holocaust (London, Ducksworth: 1999), paraphrased in David Cesarini, ‘Seizing the Day:
Why Britain will Benefit from Holocaust Memorial Day’, Patterns of Prejudice, 34: 4 (2000), 61
33 Monohla Dargis, ‘Horror through a Child’s Eyes’, The New York Times, 6 November 2008, quoted in Jensen, ‘The
Holocaust in British Television and Film’, 120

7. include comparing Bruno’s story with testimonies from Holocaust survivors, perpetrators and
bystanders, and a documentary on Auschwitz. For older pupils, more complex analysis could
involve questioning what the representation failed to include and why, such as British responses
to the Nazis regime.
It should remain an educational tool for several reasons. First, the public are not going to ignore
The Boy in the Striped Pyjamas because it is a flawed representation and unhistorical. As Gray
asserts, ‘it is no use burying one’s head in the sand and ignoring the fact that John Boyne’s story
is perhaps the most influential representation of the Holocaust in recent years’.34
Children will
continue to access it: the book will be sold and the film remain available on DVD and streaming
services. Is it not better to have them view it in a classroom environment, where educators can
correct inaccuracies, provide factual information on the Holocaust, draw on moral lessons and
encourage analytical skills? However, as shown by Gray’s study, improvements regarding these
teacher behaviours are essential.35
Second, The Boy in the Striped Pyjamas is not the only unrealistic representation of the Holocaust.
One of the leading Holocaust denial websites received over 200,000 visitors each month in 2009,
and typing basic and typical questions, such as ‘when did the Holocaust start’, into search
engines leads to similar denial-related websites.36
YouTube and social networking sites contain
inappropriate Holocaust-related representations. For instance, a video of ‘Hitler’ intending to
murder Justin Bieber received comments such as ‘Hitler is my hero’, and parodies of a Downfall
(2004) scene depicting Hitler’s anger are increasingly popular, encouraging humour and
flippancy.37
In a culture where children are increasingly using the internet, it is crucial they are
exposed to resources, like The Boy in the Striped Pyjamas, in a classroom, where they can be
34 Gray, ‘The Boy’, 131-2
35
Ibid.
36 Scott Darnell, Measuring the Holocaust Denial in the United States (Policy Analysis Exercise, MA, Harvard Kennedy
School of Government), 38
37 Jason Hansen, ‘Auschwitz is made of Lego and Hitler hates Justin Beckham: YouTube and the Future of
Holocaust Remembrance’, Paper presented at The Future of Holocaust Studies Conference, Universities of
Southampton and Winchester (July 2013)

8. encouraged to be critical of information, and helped to identify falsified and manipulated facts
and immoral representations.38
Future Holocaust Education: promoting critical analysis
Indeed, the skill to approach information critically is invaluable; the Holocaust is not the only
historical event that has been unrealistically depicted. It would be a severe case of censorship if
any popular culture representation which was historically inaccurate was banned. The Boy in the
Striped Pyjamas being shown along with other Holocaust representations will help children deal
with contradictory information more widely. According to Peter Brooks and Hilary Jewett, this
skill is increasingly crucial: ‘the ability to read critically the messages that society, politics, and
culture bombard us with is, more than ever, needed training in a society in which the
manipulation of minds and hearts in increasingly what running the world is all about’.39
Yet
Andy Pearce states ‘a widespread “critical” Holocaust consciousness in Britain remains elusive’.40
Indeed, there is a surprising lack of reference to analytical skills in Holocaust teaching packs and
books.41
They appear to be consumed with the rivalry between historical and moral education.
Promoting the development of critical thinking may reconcile historical and moral approaches.
As Paul Salmons argues, ‘learning the history of the Holocaust and drawing moral lessons are not
mutually exclusive’.42
If children are presented with a range of sources and encouraged to ‘spot
the difference’ (to be overly simplistic), they are less likely to perceive information presented in a
single source as wholly true and adhere to false information, instead asking historical and moral
38 ‘Teenagers “spend an average of 31 hours online”’, The Telegraph (February 2009)
39 Peter Brooks & Hilary Jewett, The Humanities and Public Life (New York, Fordham University Press: 2014), 2
40 Andy Pearce, ‘Britain’s Holocaust Memorial Day: Inculcating British or European Holocaust Consciousness’ in
Sharples & Jenson (eds.), Britain and the Holocaust, 206
41 For example, none of the following mention developing analytical skills: Geoffrey Short & Carrie Supple &
Katherine Klinger, The Holocaust in the School Curriculum: a European Perspective (Strasbourg, Council of Europe: 1998);
Ian Davies, Teaching the Holocaust: Educational Dimensions, Principals and Practices (London, Continuum: 2000); Geoffrey
Short & Carole Ann Reed, Issues in Holocaust Education (Aldershot, Ashgate: 2004); & Lucy Russel, Teaching the
Holocaust in School History: Teachers or Preachers (London, Network Continuum: 2008). Searching teacher power-points
and worksheets on https://www.tes.com/teaching-resources reveal again a lack of focus on analysing and
comparing sources.
42 Paul Salmons, ‘Moral Dilemmas: history-teaching and the Holocaust’, Teaching History 104 (2001), 34

9. questions of the resources. Studies are needed to determine whether this theory is successful in
practice, but the Imperial War Museum Holocaust Exhibition is an example where this method
appears to be working. It encourages pupils to analyse objects and oral and written testimonies.
In discussion sessions these sources are used by children to narrate Holocaust history but also to
tackle moral questions such as ‘why do people become murderers’ and ‘can we say the decision is
a matter of right and wrong’.43
Using multiple resources and encouraging critical analysis is likely to have other beneficial effects
on the relationship between school children and the Holocaust. It will become less dictatorial in
nature. Encouraging individual analysis and interpretation of materials fosters debate,
confirming or challenging existing narratives.44
Being less prescriptive may reduce pupil
complacency with the topic. In Simone Schweber’s article on ‘Holocaust fatigue’, one teacher
commented ‘my kids are sick of it, sick of the Holocaust’.45
It may also decrease the suspicion
felt by those who distrust teachers and British Holocaust education. Gunther Jikeli’s study on
‘Perceptions of the Holocaust Among Young Muslims in Berlin, Paris and London’ found some
felt the information presented by schools is biased and dictated by a small group.46
For example,
one London pupil does not believe what he was told at school because he thinks ‘there is an elite
who says what does and doesn’t go’.47
Perhaps the over emphasis on moral lessons by some
teachers makes another believe ‘they’ have an ‘agenda teaching the Holocaust in school’.48
Encouraging critical analysis through the use of a range of sources is logistically possible.
Holocaust resources are becoming increasingly available. Oral testimonies are easily accessed
online. For example, ‘IWitness’ is an online educational programme from the USC Shoah
43 Ibid.
44 Caroline Sturdy Colls, Holocaust Archaeologies: Approaches and Future Directions (Cham, Springer: 2015), 336
45 Simone Schweber, ‘Holocaust Fatigue’, Social Education 70: 1 (2006), 50
46 Gunther Jikeli, ‘Perceptions of the Holocaust Among Young Muslims in Berlin, Paris and London’ in Gunther
Jikeli & Joelle Allouche-Benayoun (eds.), Perceptions of the Holocaust in Europe and Muslim Communities: sources, comparisons
and educational challenges (Dordrecht & New York, Springer: 2013), 105-131
47 Ibid., 110
48 Ibid., 110

10. Foundation’s testimony project.49
As well as providing oral testimonies, it details their length
and suggested viewers’ age, and possible lesson plans. Similarly, electronic databases of artefacts
found at excavations, such as Buchenwald and Mittelbau-Dora, exist.50
These include images
and descriptions. With advancing technology, 3-dimensional catalogues and interactive tours
may also be used in future Holocaust education. The latter is currently being created for
Treblinka.51
Challenges may include, firstly, having the time to use multiple resources and, secondly,
determining appropriate sources for certain age groups and intellectual capabilities. However,
the Holocaust is often taught within multiple subjects, for example History and Religious
Studies, and, by coordinating lessons, time can be more effectively used and repetition avoided.
Some resource providers suggest an appropriate age for viewers. Crucially, for this method to be
effective, teachers need to know historical inaccuracies in sources so they can highlight them or
guide pupils’ analysis. This goes beyond the remit of this essay, but it is important that resource
information is collected and distributed to educators.
Conclusion
As it currently stands, British school children’s relationship with the Holocaust through The Boy
in the Striped Pyjamas is full of historical inaccuracies and unrepresentative portrayals. It is a
relationship which does not appear to teach moral lessons. Although it should no longer be the
principle source of Holocaust information, used with other resources The Boy in the Striped Pyjamas
can develop children’s analytical skills. By emphasising critical thinking in Holocaust education,
the relationship between pupils and the Holocaust will likely be less prescriptive and more
engaging. It may also aid balancing historical facts with moral lessons. By encouraging pupils to
interpret a range of sources with the guide of a teacher, history is found, not lost or neglected.
49 ‘IWitness: one voice at a time’, University of South California Shoah Foundation
50 Colls, Holocaust Archaeologies, 336
51 Ibid. 336

11. As Holocaust survivor Branko Lustig states: ‘the next generation will tell… [the] story in their
own words with whatever means they have at their disposal. Our job is not to dissuade them
from using their voice and the technology at their fingertips but rather to encourage them to do
it with care, with dignity and humanity’.52
52 Branko Lustig quoted in Michael Gray, Contemporary Debates in Holocaust Education (Basingstoke, Palgrave
Macmillan: 2014), 111

12. Bibliography
Alexander, Jeffrey C. (eds.), Remembering the Holocaust (New York & Oxford, Oxford University
Press: 2009).
Bardgett, Suzanne, ‘The Depiction of the Holocaust at the Imperial War Museum since 1961’,
Journal of Israeli History, 23: 1 (2004), 146–156.
Bigsby, Christopher, Remembering and Imagining the Holocaust (Cambridge, Cambridge University
Press: 2006).
Boyne, John, The Boy in the Striped Pyjamas (London, Definitions: 2006).
Brooks, Peter, & Hilary Jewett, The Humanities and Public Life (New York, Fordham University
Press: 2014).
Brown, M., & I. Davies, ‘The Holocaust and Education for Citizenship’, Educational Review, 50
(1998), 75-83.
Brownell, Baker, ‘The Value of the Humanities’, The Journal of Higher Education, 16: 8 (November
1945), 405-412.
Capet, Antoine, ‘Holocaust Art at the Imperial War Museum, 1945-2009’ in Caroline Sharples &
Olaf Jensen (eds.), Britain and the Holocaust: Remembering and Representing War and Genocide
(Basingstoke, Palgrave Macmillan: 2013), 129-141.
Carrington, B., & G. Short, ‘Holocaust Education, Anti-racism and Citizenship’, Educational
Review, 47 (1997), 271-282.
Cesarani, David, ‘Seizing the Day: Why Britain will Benefit from Holocaust Memorial Day’,
Patterns of Prejudice, 34: 4 (2000), 61-66.
Cesarani, David, ‘Striped Pyjamas’ (Book Review), Literary Review (2006), accessed via
http://www.literaryreview.co.uk/cesarani_10_08.html on 30/4/2016.
Cole, Tim, Images of the Holocaust (London, Ducksworth: 1999).
Cole, Tim, ‘“Marvellous Raisins in a Badly-Cooked Cake”: British Responses to the Screening of
Holocaust’ in Caroline Sharples & Olaf Jensen (eds.), Britain and the Holocaust: Remembering
and Representing War and Genocide (Basingstoke, Palgrave Macmillan: 2013), 71-89.
Colls, Caroline Sturdy, Holocaust Archaeologies: Approaches and Future Directions (Cham, Springer:
2015).
Darnell, Scott, Measuring the Holocaust Denial in the United States (Policy Analysis Exercise, MA,
Harvard Kennedy School of Government).
Davies, Ian, Teaching the Holocaust: Educational Dimensions, Principals and Practices (London,
Continuum: 2000).

13. Doss, Erika, Memorial Mania: Public Feeling in America (Chicago & London, University of Chicago
Press: 2010).
Gilbert, Martin, The Holocaust: The Jewish Tragedy (London, Collins: 1986).
Gray, Michael, Contemporary Debates in Holocaust Education (Basingstoke, Palgrave Macmillan:
2014).
Gray, Michael, ‘The Boy in the Striped Pyjamas: A Blessing or Curse for Holocaust Education’,
Holocaust Studies, 20: 3 (2014), 109-136.
Herman, Mark, Rosie Alison, Christine Langan, David Heyman, Benoît Delhomme, Michael
Ellis, James Horner, Natalie Ward, Martin Childs, Vera Farmiga, David Thewlis, Rupert
Friend, David Hayman, Asa Butterfield, Jack Scanlon, Amber Beattie, Sheila Hancock,
Richard Johnson, Jim Norton, & John Boyne, The Boy in the Striped Pyjamas (Burbank CA,
Miramax Home Entertainment: 2009).
Huyssen, Andreas, ‘Monument and Memory in a Postmodern Age’, The Yale Journal of Criticism, 6:
2 (January 1993), 249-261.
Jensen, Olaf, ‘The Holocaust in British Television and Film: a look over the Fence’ in Caroline
Sharples & Olaf Jensen (eds.), Britain and the Holocaust: Remembering and Representing War
and Genocide (Basingstoke, Palgrave Macmillan: 2013), 115-125.
Jikeli, Gunther, & Joelle Allouche-Benayoun (eds.), Perceptions of the Holocaust in Europe and Muslim
Communities: sources, comparisons and educational challenges (Dordrecht & New York, Springer:
2013).
Jinks, Rebecca, ‘Holocaust Memory and Contemporary Atrocities: The Imperial War Museum’s
Holocaust Exhibitions and Crimes Against Humanity Exhibition’ in Caroline Sharples &
Olaf Jensen (eds.), Britain and the Holocaust: Remembering and Representing War and Genocide
(Basingstoke, Palgrave Macmillan: 2013), 142-161.
Judt, Tony, Reappraisals: Reflection on the Forgotten Twentieth Century (London, Vintage Books: 2009).
Landau, Ronnie, ‘No Nazis War in British History’, Jewish Chronicle, 25th
August 1989.
Lawson, Tom, ‘The Holocaust and Colonial Genocide at the Imperial Museum’ in Caroline
Sharples & Olaf Jensen (eds.), Britain and the Holocaust: Remembering and Representing War
and Genocide (Basingstoke, Palgrave Macmillan: 2013), 161-168.
Levene, Mark, ‘Britain’s Holocaust Memorial Day: A Case of Post-Cold War Wish-Fulfillment,
or Brazen Hypocrisy?’ Human Rights Review, 7: 3 (2006), 26-59.
Maitles, Henry, & Paula Cowan & Eamonn Butler, ‘Never Again!: Does Holocaust Education
have an Effect on Pupils’ Citizenship Values and Attitudes?’, SEED sponsored research
(2006), accessed via http://www.gov.scot/resource/doc/147037/0038530.pdf on
26/04/2016.

14. Maitles, Henry, ‘“Why are we learning this?”: Does Studying the Holocaust Encourage Better
Citizenship Values?’, Genocide Studies and Prevention: An International Journal , 3: 3 (2008),
341-352
Peter Morgan, ‘How Can We Deepen and Broaden Post-16 Students’ Historical Engagement
with the Holocaust?: Developing a Rationale and Methods for Using Film’, Teaching
History, 141 (2010), 27-32.
Pettigrew, Alice, Stuart Foster, Jonathan Howson, Paul Salmons, Ruth-Anne Lenga, & Kay
Andrews, Teaching about the Holocaust in English Secondary Schools: an Empirical Study of
National Trends, Perspectives and Practice (Holocaust Education Development Programme,
Institute of Education, University of London: 2009).
Pearce, Andy , ‘Britain’s Holocaust Memorial Day: Inculcating British or European Holocaust
Consciousness’ in Caroline Sharples & Olaf Jenson (eds.), Britain and the Holocaust:
Remembering and Representing War and Genocide (Basingstoke, Palgrave Macmillan: 2013),
192-213.
Popescu, Diana I., & Tanja Schult (eds.), Revisiting Holocaust Representation in the Post-Witness Era
(Basingstoke, Palgrave Macmillan: 2015).
Prager, Brad, After the Fact: The Holocaust in Twenty-First Century Documentary (London & Oxford,
Bloomsbury: 2015).
Rupprecht, Nancy E., & Wendy Koenig, The Holocaust and World War II: in history and in memory
(Newcastle upon Tyne, Cambridge Scholars: 2012).
Russel, Lucy, Teaching the Holocaust in School History: Teachers or Preachers (London, Network
Continuum: 2008).
Salmons, Paul, ‘Moral Dilemmas: history-teaching and the Holocaust’, Teaching History, 104
(2001), 34-40.
Salmons, Paul, ‘Universal Meaning or Historical Understanding: The Holocaust in History and
History in the Classroom’, Teaching History, 141 (2010), 57-63.
Santner, Eric, ‘History Beyond the Pleasure Principal: Some Thoughts on the Representation of
Trauma’ in Saul Friedländer (ed.), Probing the Limits of Representation: Nazism and the ‘Final
Solution’ (Cambridge, Harvard University Press: 1992).
Schramm, Katherine, ‘Landscapes of Violence: Memory and Sacred Space’, History and Memory
23: 1 (2011), 5-22.
Schweber, Simone, ‘Holocaust Fatigue’, Social Education, 70: 1 (2006), 44-50.
Short, Geoffrey, Carole Ann Reed, Issues in Holocaust Education (Aldershot, Ashgate: 2004).
Short, Geoffrey, Carrie Supple & Katherine Klinger, The Holocaust in the School Curriculum: a
European Perspective (Strasbourg, Council of Europe: 1998).

15. Stone, Dan, The Holocaust, fascism and memory: essays in the history of ideas (Basingstoke, Palgrave
Macmillan: 2013).
Stone, Dan, ‘From Stockholm to Stockton: The Holocaust and/as Heritage in Britain’ in
Caroline Sharples & Olaf Jensen (eds.), Britain and the Holocaust: Remembering and
Representing War and Genocide(Basingstoke, Palgrave Macmillan: 2013), 214-231.
______, ‘IWitness: one voice at a time’, University of South California Shoah Foundation,
accessed via http://iwitness.usc.edu/SFI/Activity/ on 27/4/2016.
______, ‘Night Will Fall: The Holocaust Film that was too Shocking to Show’, The Guardian, (9th
January 2015), accessed via http://www.theguardian.com/film/2015/jan/09/holocaust-
film-too-shocking-to-show-night-will-fall-alfred-hitchcock on 25/4/2016.
______, Teacher Resources on TES: Think, Educate, Share Website, accessed via
https://www.tes.com/teaching-resources from 22/4/2016 - 27/4/2016.
______, ‘Teenagers “spend an average of 31 hours online”’, The Telegraph (February 2009),
accessed via http://www.telegraph.co.uk/technology/4574792/Teenagers-spend-an-
average-of-31-hours-online.html on 30/4/2016.
______, ‘The Holocaust Exhibition’ produced by ITV Granada Manchester, in Using Museums 1
(Teachers TV/UK Department of Education: 2006) 13 mins accessed via
http://search.alexanderstreet.com/view/work/1783657 on 22/4/2016.