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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.
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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.
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Bachmann, Michael. "Der abwesende Zeuge Autorisierungsstrategien in Darstellungen der Shoah." Tübingen Francke, 2010. http://d-nb.info/999713000/04.
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Besson, Rémy. "La mise en récit de Shoah." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0153.
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Cette thèse a pour objet la mise en récit de Shoah (Claude Lanzmann, 1985). Ce film ayant pour sujet la mise à mort des Juifs entre 1941 et 1945 est construit autour de propos tenus par des acteurs de l'histoire, en excluant toute voix-off et toute image en mouvement contemporaine des faits. En 2012 en France, il est considéré comme une référence incontournable, un chef-d'œuvre. Il est aussi un symbole de l'émergence de la parole des témoins dans l'espace public, du moment-mémoire et de la prise de conscience de la singularité du génocide des Juifs. Ce travail porte sur les différentes étapes de ce devenir référence. La première partie repose sur une étude de l'historiographie et des 67 entretiens menés par l'équipe du film. Ce corpus qui se trouve au Musée Mémorial de l'Holocauste à Washington permet de documenter la mise en place des dispositifs filmiques et la phase correspondant au montage. Ces archives conduisent à établir que Shoah est une forme culturelle construite à chaque étape de sa réalisation. La seconde partie aborde les propos tenus dans l'espace public entre 1985-2011. Elle a permis d'identifier des écarts avec la manière dont l'intrigue du film a été conçue (1973-1985). Ainsi, le récit de Shoah a été appréhendé comme un processus dynamique dont le film est un élément central à considérer parmi d'autres : les tournages des entretiens, le montage, la première diffusion, les appropriations successives dans les médias et dans les sciences sociales aussi bien que par d'autres réalisateurs, l'institutionnalisation (musées et Education nationale)This dissertation's topic is the evolution of Shoah's narrative (Claude Lanzmann, 1985). Dealing with the killing murder of Eastern European Jews between 1941 and 1945, this film is built around statements made by actors of history, excluding any voiceover and any moving pictures of contemporary facts. In 2012 France, it is considered as an essential reference, a masterpiece. This is also a symbol of the emergence of witnesses in public space, the "moment-memoire" and the awareness of the Jewish genocide's uniqueness. This research deals with the various stages of this "devenir référence". The first part is based on a study of historiography and 67 interviews conducted by the film crew. Located in the United States Holocaust Memorial Museum, this corpus allows to document shootings and editing. This collection of archives led to establish that Shoah is a cultural form constructed at each step of the filmmaking. The second part examines the comments made in public space between 1985 and 2012. It identified differences with how the movie's plot was designed (1973-1985). Thus, the narrative of Shoah is investigated as a dynamic process in wich the film is a central element to consider among others : filming interviews, editing, first broadcast, successive appropriations in the media and also in social sciences writings and institutions (Museums, National education system, University)
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Corell, Catrin. "Der Holocaust als Herausforderung für den Film : Formen des filmischen Umgangs mit der Shoah seit 1945 : eine Wirkungstypologie /." Bielefeld : Transcript, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783899427196.
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Torner, Carles. "Regarder l'extrême : une pédagogie de la mémoire de la Shoah à partir du film de Claude Lanzmann." Paris 8, 2000. http://www.theses.fr/2000PA081759.
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Shoah, de claude lanzmann, met le spectateur face a nombreux temoignages. Par quelle construction historique et artistique cette memoire devient-t-elle actuelle ? quelle est la pedagogie pour la transmettre ? la recherche entrecroise trois temporalites : une etude de la memoire par une memoire multireferentialite et opacite derniere de l'objet de recherche, ethique et epistemologie, resonance et raisonnement s'enchevetrent. L'objet est place sous le regard a) du carrefour de memoires du chercheur, b) des debats theoriques de differentes disciplines et entre acteurs de la memoire collective, c) de shoah. L'itineraire de la memoire le concept de << memoire collective >> (m. Halbwachs) permet d'explorer les tensions a) entre unicite de la shoah et memoire exemplaire, b) entre narration historique et fiction veritable, c) entre l'intelligibilite de la transmission et l'imperatif de preserver l'opacite de la shoah. Sous le regard de shoah la narration d'un regard du film fait apparaitre la temporalite qui lui est propre, le role de l'oubli dans la construction de la memoire, le << pas de pourquoi >> de la shoah qui permet de regarder en face l'horreur, la mise en scene du temoignage par unartifice cinematographique qui met en lien la parole du temoin et l'innomable de ce dont il doit rendre compte. Ainsi surgit, dans l'image, le lieu de la mise a mort des juifs. Shoah cree une chaine de transmission paradoxale : des juifs mis a mort au temoin ; du temoin (souvent au moyen de l'interprete) a lanzmann ; du dialogue entre le temoin et lanzmann au spectateur ; du spectateur au-dela. Le film forme une communaute de temoins de la shoah. L'ethique de la transmission est une triple assignation de place (dans l'itineraire de la memoire), d'ecoute (subir la memoire) et de parole (narration, toujours inachevee, de la memoire de la shoah). Le dialogue entre memoire individuelle et memoire collective fait que tout recit de shoah soit dit a partir d'un carrefour memoriel contextualise.
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Cazenave, Jennifer. "Genèses des figurations de la femme dans la Shoah : voix féminines et représentations de l'Holocauste (1946-1985)." Paris 7, 2011. http://www.theses.fr/2011PA070023.
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Lors de la réalisation de Shoah (1985), Claude Lanzmann a accumulé 350 heures de rushes. Ces images inédites constituent le point de départ pour une réflexion sur la genèse du film, à savoir, le rapport entre le visible et l'invisible, le montage et l'archive. Face à l'ampleur de ce fonds, cette étude s'attache en particulier à la représentation des femmes. Tandis que les critiques féministes du film soulignent leur absence, nous soutenons que Shoah est traversé par des voix de femmes. Outre une analyse détaillée de ces représentations par la parole, il s'agit donc d'approfondir cette thématique du non-visuel à partir d'un travail des rushes des interviews avec des survivantes filmée? durant le tournage du film. De même, nous analysons la manière dont la représentation verbale des survivantes dans Shoah s'oppose à la présence visuelle des personnages féminins dans certaines représentations cinématographiques - soit des films, soit des témoignages filmés dans le cadre d'un procès - de « l'Holocauste » réalisés entre 1946 et 1985This dissertation reconsiders the representation of women in Claude Lanzmann's Shoah. While Lanzmann's documentary established a new paradigm for the limits of representation - which, as I demonstrate, contrasts with the visual presence of women in Holocaust films before Shoah -feminist readings have persisted in decrying the limited visual presence of women in the film Shifting the value from the image to the voice, I make a case for the cinematic significance GJ absence by mapping the acoustic spectrum which renders women present despite their invisibility. I argue that Shoah is traversed by the voices of women — both spoken and remembered. Vocal representations of women thus trace a path toward the unrepresentable image that haunts the film in its entirety: death itself. In Shoah, women tread between the image and its absence: the testimonies of the four women survivors in the film, which culminate in an untranslated song in Yiddish; the appearance and disappearance of the interpreters (all women), whose voices weave through the film pointing to the displacement of one language to another and to what is irreparably lost in translation the men who remember women — and their words — inside the gas chambers. Probing this intimacy of image and absence, I have been led to study the film's outtakes ; the most outstanding feature of these interviews is the ever-unstated but always present choices that constitute the film as it stands, but are themselves both unseen and unvoiced; any critical reflection on the film must concern itself with its making — that is, the arbitration between visibility and invisibility, presence and absence, montage and archive
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Corell, Catrin. "Der Holocaust als Herausforderung für den Film Formen des filmischen Umgangs mit der Shoah seit 1945 ; eine Wirkungstypologie." Bielefeld Transcript, 2006. http://d-nb.info/984274146/04.
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De, Voghelaer Nathalie. "Cinéma, mémoire et imaginaire collectif : ou Comment les réalisateurs allemands représentent le génocide dans les films de fiction entre 1945 et 1960." Lille 3, 1999. http://www.theses.fr/1999LIL3A008.
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Fertoukh, Ariel. "Constances et évolutions de la représentation des victimes de la Shoah dans les cinémas américain, français et israélien." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010546.
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L’étude thématique de l’évolution de la représentation de la Shoah fait avant tout ressortir des constances dans ce corpus filmique. Les traditions propres au cinéma, la tendance des auteurs à esquiver les aspects inconcevables mais vrais de l’événement, et la subordination aux forces politiques et sociales expliquent ce phénomène. C’est ainsi que la représentation des chambres à gaz obéit à une constance d’ordre éthique. La révolte militaire des civils souffre d’une représentation servile. La mémoire de la Shoah, déterminée par les instances officielles des pays étudiés, correspond aux traditions de ces derniers et reflète leur nature profonde. L’instrumentalisation de la Shoah, différente d’un pays à l’autre, est une donnée essentielle de ce cinéma. La spécificité de la Shoah est ignorée : les enfants comme ultimes victimes, le caractère universel du judéocide. Le défaut de représentation des Conseils Juifs, la sous représentation des femmes par rapport aux hommes participent au défaut de représentation du cinéma. L’évolution relevée est le plus souvent le résultat de la conformité des œuvres aux changements politiques et sociaux du pays concerné. La Shoah a acquis, à travers le cinéma, le statut de mythe essentiel de la démocratie libérale, au nom de valeurs morales universelles, masquant ainsi le syndrome d’une société incapable de se référer à son propre passé et de se projeter dans l’avenir en l’absence de projet spirituel et moralThe thematic study about the evolution of the Holocaust representation emphasizes the works’ domination of the constancy. The Cinema’s proper traditions, the authors’ tendencies to evade the inconceivable but true aspects of the event, and the subordination to political and social strengths explain this phenomenon. Thus, the gas chambers’ representation obeils all ethical standards. The civilians’ military revolt suffers from an uninspiring representation. The Holocaust’s remembrance, determined by the official authorities of the studied countries, corresponds to the latter’s traditions and reflects their deep nature. The Holocaust’s instrumentalization, different from one country to another is an essential element of cinema. The Holocaust’s specificity is being ignored: children as the ultimate victims, the judeocide’s universal character, the Jewish Councils’ defect of representation, women’s under-representation as compared to men contribute to cinema’s fault of representation. The noticed evolution is most of the time the result of the works’ conformity with the political and social changes of the concerned country. Through cinema, Holocaust gained the status of an essential myth of the liberal democracy in the name of universal moral values, hiding thus the syndrome of a society unable to refer to its own past and to plan ahead in absence of spiritual and moral project
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Suguiyama, Natália Keiko de Carvalho. "O testemunho no cinema documental: procedimentos criativos no campo da experiência traumática com ênfase em Shoah de Claude Lanzmann e Histoire(s) du Cinéma de Godard." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21434.
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Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted
Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado
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RONDENA, ELENA. "La letteratura concentrazionaria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/290.
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Affrontando lo studio della Letteratura Italiana risulta evidente l'omissione dai manuali, ad eccezione di Primo Levi, degli scritti di coloro che sono stati deportati tra il 1939 e il 1945 in seguito alle persecuzioni razziali. Il tempo trascorso dalla Shoah ha, invece, dimostrato la presenza di un ingente quantità di opere che costituiscono il corpus della Letteratura Concentrazionaria, ossia la letteratura dei campi di concentramento. Gli autori di questa letteratura sono poco conosciuti e considerati minori, ma la loro scrittura raggiunge spesso un'ineguagliabile altezza intellettuale, morale, stilistica. La narrazione dei loro ricordi traumatici è il risultato di precise decisioni: quali fatti raccontare, in che ordine cronologico, ma soprattutto attraverso quale forma. Questi testi concentrazionari, infatti, possono essere studiati da diversi punti di vista, quello più inusuale è la divisione per generi: racconto, autobiografia, saggio, romanzo, diario, lettera, poesia. Non sempre la distinzione fra questo o quel genere è netta, ma è molto significativo che a partire da una tragedia, quale l'Olocausto, si possa scegliere di raccontare la propria esperienza prestando attenzione al modo di esprimerla. È il primo segno che dimostra quanto anche di fronte al male l'uomo non perda il desiderio di ricercare il vero ed il bello.Such a long time has passed since the end of the Shoah and it has become clear that there are a lot of works written in those years which now form the corpus of literature based on the experiences in concentration camps. The authors of these works are not very well-known and they are usually considered minor but their works have often reached highly intellectual, moral and stylistic results. The narration of their traumatic memories is the result of precise decisions, i.e. what to tell, in what chronological order, but especially in what forms. The texts based on the experiences in concentration camps can in fact be studied from different points of view. The most unusual is their study through genres: short story, autobiography, essay, novel, journal, letter, poetry. The distinction between one genre and another is not often clear-cut. What is interesting to underline is that in front of a tragedy, as the Holocaust was, it is possible to choose to tell one's own experience by paying special attention to the way of expressing it. This is evidence that in front of evil man does not ever lose the desire to look for truth and beauty.
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Thiele, Martina. "Publizistische Kontroversen über den Holocaust im Film." Doctoral thesis, 2000. http://hdl.handle.net/11858/00-1735-0000-000D-F211-4.
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Monschau, Jörg [Verfasser]. "Der Jude nach der Shoah : zur Rezeption des Kaufmann von Venedig auf dem Theater der Bundesrepublik Deutschland und der Deutschen Demokratischen Republik 1945 - 1989 / vorgelegt von Jörg Monschau." 2003. http://d-nb.info/967940036/34.
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Rajala, Tero Markus. "Lives unremembered : the Holocaust and strategies of its representation : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/756.
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The Holocaust is a subject that seems to defy artistic representation by way of its sheer scale of tragedy and subsequent trauma. As I will demonstrate in this paper, it is hard to restore visibility – pictorial links between past and present realities – to crimes that have been deliberately submerged by its perpetrators. I will examine some of the common strategies used in representation of the victims of the Holocaust since the end of the Second World War, in the mediums of film and photography. As my main method of enquiry, I will examine three films from different eras, and of very different approaches in terms of their processing of the proposed original evidence, as examples to illustrate my arguments. In the second chapter Alain Resnais's documentary film Nuit et Brouillard (Night and Fog) is analyzed as a birthplace of the so-called iconography of the Holocaust. Chapter three examines workings of memory through the aesthetic form that was soon to follow; the role and testimony of the survivors is considered through Claude Lanzmann's Shoah. In the fourth chapter a new player is introduced: the second generation witness of postmemory, works of transmitted but unexperienced realities. In this chapter I will closer examine the workings of art in the game of reprocessing the evidence of the Holocaust, and through Dariusz Jablonski's film Fotoamator I aim to critique how the previously discussed approaches serve to further lock the Holocaust in an inaccessible canon. Moreover, the generalization implied – a drive toward universalization of the Holocaust as an idiom or even a metaphor for the dark sides of human history/character – derives from problems of representation; mainly that of anonymity in face of the proposed beauty of the spectacle, of tragedy and suffering in mass-media. A key problem is that any historical document, however we define one, is considered transparent and unmediated, whereas art is clearly something where a degree of mediation is necessarily recognized. In the face of this dichotomy it seems that all the collected "proof" of the Holocaust – witness accounts" photographs" films" material remains – achieves, is to stregthen the prevailing version of history.
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Gerber, Myriam Bettina. "Beyond the memory: the era of witnessing – analyzing processes of knowledge production and memorialization of the Holocaust through the concepts of translocal assemblage and witness creation." Thesis, 2016. http://hdl.handle.net/1828/7294.
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This paper considers the symbiotic relationship between iconic visual representations of the Holocaust – specifically film and Holocaust sites – and processes of Holocaust memorialization. In conjunction, specific sites and objects related to the Holocaust have become icons. I suggest that specific Holocaust sites as well as Holocaust films can be perceived as elements of one and/or multiple translocal assemblage/s. My focus in this analysis is on the role of knowledge production and witness creation in Holocaust memorialization. It is not my intention to diminish the role of Holocaust memorialization; rather, I seek to look beyond representational aspects, and consider the processual relationships involved in the commemoration of the Holocaust in institutions, such as memorial sites and museums, as well as through elements of popular culture, such as films. Furthermore, I analyze the tangible and intangible layers of memories and meaning present in Holocaust films and sites through the lens of palimpsests. These conceptual frameworks allow me to consider how visual representations of the Holocaust, such as film, and site inform each other? How are specific representations of Holocaust sites and objects shaping and informing the commemoration of the Holocaust in the 21st century?Graduate
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Abouzari, Mohammad Reza Shoar [Verfasser]. "Ion-conductivity of thin film Li-Borate glasses / Mohammad Reza Shoar Abouzari." 2007. http://d-nb.info/987586696/34.
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