Visualizing the Holocaust: Documents, Aesthetics, MemoryDavid Bathrick, Brad Prager, Michael David Richardson Camden House, 2008 - 336 Seiten Visual representations are an essential but highly contested means of understanding and remembering the Holocaust. Photographs taken in the camps in early 1945 provided proof of and visceral access to the atrocities. Later visual representations such as films, paintings, and art installations attempted to represent this extreme trauma. While photographs from the camps and later aesthetic reconstructions differ in origin, they share goals and have raised similar concerns: the former are questioned not as to veracity but due to their potential inadequacy in portraying the magnitude of events; the latter are criticized on the grounds that the mediation they entail is unacceptable. Some have even questioned any attempt to represent the Holocaust as inappropriate and dangerous to historical understanding. This book explores the taboos that structure the production and reception of Holocaust images and the possibilities that result from the transgression of those taboos. Essays consider the uses of various visual media, aesthetic styles, and genres in representations of the Holocaust; the uses of perpetrator photography; the role of trauma in memory; aesthetic problems of mimesis and memory in the work of Lanzmann, Celan, and others; and questions about mass-cultural representations of the Holocaust. David Bathrick is Emeritus Professor of German at Cornell University, Brad Prager is Associate Professor of German at the University of Missouri, and Michael D. Richardson is Associate Professor of German at Ithaca College. |
Inhalt
On the Liberation of Perpetrator Photographs in | 19 |
The Interpreters Dilemma Heinrich Jösts Warsaw | 38 |
Whose Trauma Is It? Identification and Secondary | 62 |
No Child Left Behind Anne Frank Exhibits American | 86 |
Auschwitz as Hermeneutic Rupture Differend and | 114 |
Claude Lanzmanns Shoah and the Intentionality of the Image | 138 |
For and against the Bilderverbot The Rhetoric of | 162 |
Celans Cinematic Anxiety of the Gaze in Night and Fog | 185 |
Affect in the Archive Arendt Eichmann and | 211 |
HomeMovies FilmDiaries and Mass Bodies | 239 |
Laughter amid Catastrophe Train of Life and Tragicomic | 261 |
Heil Myself Impersonation and Identity in Comedic | 277 |
299 | |
Filmography | 321 |
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Visualizing the Holocaust: Documents, Aesthetics, Memory David Bathrick,Brad Prager,Michael D. Richardson Keine Leseprobe verfügbar - 2012 |
Häufige Begriffe und Wortgruppen
Adolf Hitler aesthetic affective American Anne Frank appears approach archival Arendt’s aspect audience Auschwitz become body calls camera camps Celan cinema claims concern critical culture death depicted describes diary discussion documentary Eichmann engagement essay ethical example experience face fact film film’s frame German ghetto Hirsch historical Hitler Holocaust horror iconic identification identity images imagination important intimate Jewish Jews Jöst Jöst’s Lanzmann’s look means memory moving Museum narrative Nazi Night notes notion object opening particular past photographs play position possible postmemory present produced provides question reader reading reality refers relation remains represent representation rhetorical scene Schindler’s List seems sense sequence Shoah shot shows space specific spectator Steven Spielbergs suggests survivor testimony tion traces Train trans translation trauma trial understanding victims viewers visual witness writing York