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Journal articles on the topic 'Shoah – film'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Brinkley, Robert, and Steven Youra. "Tracing Shoah." PMLA/Publications of the Modern Language Association of America 111, no. 1 (January 1996): 108–27. http://dx.doi.org/10.2307/463137.

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It is often said that the Shoah cannot be represented. But viewers can learn from Claude Lanzmann's film Shoah how the events referred to as the Shoah produce a reference to themselves. The film presents a montage of encounters, of unanticipated details discovered in filming, of instances selected and arranged as openings to other encounters not included in Shoah. Through careful choreography, the film invites the return of signs from the past. Shoah offers a way of seeing and invites encounters that—like the filmmaker's arrangements—are open to the force of evidence as that evidence constrains interpretative response. Lanzmann's stance, an openness to significance that precedes interpretation, provides a model for a viewer's relationship to Shoah and its material, to the otherness that addresses the audience through the film. In tracing what can be traced and in filming what can be witnessed, Shoah can turn spectators into producers in the work of bearing witness.

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2

Lee, Kyoung-Jin. "Beyond the Prohibition of Images: The Representation of the Unrepresentable in the Film Son of Saul." Sookmyung Research Institute of Humanities 12 (October 31, 2022): 209–40. http://dx.doi.org/10.37123/th.2022.12.209.

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Direct representation of genocide has long been considered taboo in Holocaust cinema. In particular, the ‘image prohibition’ claimed by Claude Lanzmann, the director of Shoah, a milestone film in Holocaust film history, had a tremendous effect on artistic work concerning the Holocaust. However, Nemes László's film Son of Saul (2015) convincingly refutes the prevalent concerns about visual representation of Shoah. It manages to reconstruct the experience of a Sonderkommando member, a key witness of the Holocaust, by the careful arrangement of the camera's views, depth of field, and sound. To do this, the director takes seriously the issues regarding the Holocaust's unrepresentability, rather than ignoring or disputing them. If Shoah cannot be portrayed, it is because Shoah is a double annihilation in that it annihilated the Jews as well as the evidences of their annihilation. The film shows how the Nazi's destruction of representability can be placed in the order of representation at the level of not only film aesthetics but also narrative.

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3

Edholm, Felicity. "SHOAH: A FILM BY CLAUDE LANZMANN." History Workshop Journal 25, no. 1 (1988): 204–6. http://dx.doi.org/10.1093/hwj/25.1.204.

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4

Graff, Séverine. "Les premiers survivants du judéocide dans le documentaire français : témoignages ou mises en scène cathartiques?" Didactica Historica 3, no. 1 (2017): 27–34. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.27.

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Le Temps du ghetto (Frédéric Rossif) and Chronique d’un été (Jean Rouch and Edgar Morin), both released in 1961, are the first French documentary films featuring Jewish survivors recounting their persecutions during World War 2 in front of a camera. The appearance of Shoah survivors in cinema is commonly assessed as a consequence of the 1961 Eichmann trial. This article aims to take a different stance, highlighting the mise-en-scène of these two particular films, which invite a survivor to symbolically relive his traumatic past in front of the film crew and showing that this cathartic process is used similarly twenty years later in selected sequences of Claude Lanzmann’s Shoah.

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5

Redeker, Robert. "Le film Shoah en classe de philosophie." Commentaire Numéro70, no. 2 (1995): 287. http://dx.doi.org/10.3917/comm.070.0287.

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6

Wolfson, Jeffrey E. "The Jew Uncut: Circumcising Holocaust Representation in Europa Europa." Humanities 10, no. 2 (April 7, 2021): 64. http://dx.doi.org/10.3390/h10020064.

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Film adaptations invariably yield insights into their written source material, at least to the extent that they elect to translate or omit what may be deemed the literature’s essential components. This is certainly the case for director Agnieszka Holland’s 1990 film, Europa Europa, which adapts Solomon Perel’s account of surviving the Shoah. By drawing on discourse in Holocaust studies and adaptation studies, and by examining the film adaptation’s points of alignment with what Perel records in his memoir, I argue that Europa Europa resists the dominant trend of de-Judaizing the Shoah in artistic representation. Europa Europa privileges explicitly Jewish content and an unmistakably Jewish point of view by focusing on the theme of circumcision. In doing so, the film succeeds in highlighting how the Shoah was, at its core, a campaign to annihilate not just the Jewish people, but also the longstanding principle of the Jewish covenant with the Eternal, as embodied by circumcision. Through its cutting and reshaping of the memoir’s details, Holland’s film seeks to establish a covenant with the viewer to bear witness to the Jewish spirit of the survivor’s testimony. The film presents a model for representing the Holocaust in art, a model that masterfully defies the de-Judaization of society that the Nazis envisioned and tried to make real.

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7

Hebding, Rémy. "« Shoah » ou la résurrection d'une parole [À propos du film Shoah de Claude Lanzmann]." Autres Temps. Les cahiers du christianisme social 13, no. 1 (1987): 91–92. http://dx.doi.org/10.3406/chris.1987.1149.

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8

Olin, Margaret. "Lanzmann's Shoah and the Topography of the Holocaust Film." Representations 57, no. 1 (January 1997): 1–23. http://dx.doi.org/10.1525/rep.1997.57.1.99p0353t.

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9

Olin, Margaret. "Lanzmann's Shoah and the Topography of the Holocaust Film." Representations 57 (January 1, 1997): 1–23. http://dx.doi.org/10.2307/2928661.

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10

Esquenazi, Jean-Pierre. "Qu’est-ce que tu as vu à Chelmno? Shoah, un monumentaire." Hors dossier / Miscellaneous 12, no. 1 (October 31, 2007): 147–65. http://dx.doi.org/10.7202/024872ar.

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RÉSUMÉ Shoah pose un problème à la théorie du documentaire, dans la mesure où le film ne se présente pas comme l'enregistrement du réel par un Je-origine (lui-même réel). À l'inverse de ce qu'opère un « documentariste classique », l'auteur montre que le film se présente comme constituant sa référence, non son enregistrement. Désignant ce film par le terme de « monumentaire », l'auteur étudie les processus référentiels qui y sont engagés à la lumière de Les Individus de P.F. Strawson.

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11

Villeneuve, Johanne. "Filip Müller : témoin, narrateur et figure." Articles, no. 36 (August 31, 2021): 1–24. http://dx.doi.org/10.7202/1080956ar.

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Cet article propose d’examiner, dans une perspective intermédiale, les différentes phases du témoignage de Filip Müller, un rescapé du Sonderkommando d’Auschwitz-Birkenau, depuis son hospitalisation en 1946 jusqu’à sa présence dans le film de Claude Lanzmann, Shoah (1985). Müller livre son témoignage dans divers contextes et sous des formes médiatiques différentes (témoignage écrit ou livré oralement, enregistré, retranscrit, filmé). Ces formes sont à leur tour médiatisées et diffusées sur le Web. Elles constituent des archives dont nous sommes aujourd’hui les légataires.

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12

Vice, Sue. "Generic hybridity in Holocaust cinema." Short Film Studies 4, no. 2 (October 1, 2014): 199–202. http://dx.doi.org/10.1386/sfs.4.2.199_1.

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This article explores the generic hybridity of Seven Minutes in the Warsaw Ghetto, as it unites aesthetic and historical elements. The film is an example of what Claude Lanzmann calls ‘a fiction of the real’, in which the elements of aesthetic and documentary are differently aligned from those in Shoah (1985).

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13

Kaufmann, Francine. "Interview et interprétation consécutive dans le film Shoah, de Claude Lanzmann." Meta: Journal des traducteurs 38, no. 4 (1993): 664. http://dx.doi.org/10.7202/003290ar.

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14

Nieracka, Agnieszka. "Historia i obrazy. Niedokończony film Yael Hersonski." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 83–92. http://dx.doi.org/10.19195/0860-6668.22.3.7.

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History and images: Yael Hersonski’s A Film Unfinished The complex relations of the cinematic image with history and memory are the context for the analysis of A Film Unfinished. The author refers to other documentary evidence of the Holocaust Night and Fog by Alain Resnais and Shoah by Claude Lanzmann, to the concept of postmemory Marianne Hirsch and image epistemology Georges Didi-Huberman. This film presents the found footage — a Nazi propaganda document Das Ghetto subjected to the strategy of representation, which consists of a complex network of viewpoints, including various formal procedures. The author reflects on the status of images combined with the testimony of the survivors, the diaries of the ghetto inhabitants, the statements of the Nazi cameraman.

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15

Bhubaneswari, T. S., and Ajeet Singh. "Irony as Trauma & Trauma as Irony in Claude Lanzmann’s Shoah." Contemporary Research: An Interdisciplinary Academic Journal 3, no. 1 (December 31, 2019): 67–71. http://dx.doi.org/10.3126/craiaj.v3i1.27492.

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Claude Lanzmann makes use of what this essay posits as metairony which dramatizes the shocks of the acting out of the trauma of the Holocaust. The film director makes the survivors and witnesses and the viewers to become retraumatized and to relive the past. By so doing, the traumatized mind can cope with the trauma because acting out helps the reflective consciousness to prevent itself from being overwhelmed by shock, in Walter Benjamin’s assumption, by reproducing shock, that is, by seizing upon each traumatic moment and parrying it - in effect, by responding to violence with violence. Testimonies in Shoah break the boundary between the experience of shock and experience as shock.

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16

Hébert, Catherine. "Témoigner : l’expérience du tournage de Ziva Postec. La monteuse derrière le film Shoah." Intermédialités: Histoire et théorie des arts, des lettres et des techniques, no. 36 (2020): 1. http://dx.doi.org/10.7202/1080960ar.

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17

Piotrowska, Agnieszka. "Animating the Real: A Case Study." Animation 6, no. 3 (September 9, 2011): 335–51. http://dx.doi.org/10.1177/1746847711418566.

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The ethics of collecting testimonies in documentary filmmaking has been the subject of academic discussion for decades, in particular since Claude Lanzmann’s landmark film Shoah (1985). There are occasions however when a subject of a potential film would like to tell his or her story but for some reason is unable to speak. Language breaks down when an attempt is made to symbolize the trauma. This article gives an account of the author’s experience of such an instance in making a three-part documentary series for the National Geographic about refugees coming to London. The article uses Lacanian psychoanalytical thought to give a theoretical framework to the events leading to the use of animation in the series.

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18

Vietor‐Englander, Deborah. "Theater and film as a medium for presenting the experiences of Shoah Survivors today." European Legacy 1, no. 3 (May 1996): 1254–59. http://dx.doi.org/10.1080/10848779608579559.

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19

Grunebaum, Heidi. "Zwischen Nakba, Shoah und Apartheid. Nachdenken über Komplizität und Erinnern." PERIPHERIE – Politik • Ökonomie • Kultur 40, no. 3 and 4-2020 (January 15, 2021): 391–408. http://dx.doi.org/10.3224/peripherie.v40i3-4.10.

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Die Autorin setzt sich mit persönlicher Verstrickung in drei grundlegende Katastrophen des 20. Jahrhunderts auseinander, die zwar klar voneinander zu trennen sind, dennoch aber miteinander in Beziehung stehen. Diese Wechselbeziehungen zeigt die Autorin beispielhaft an entscheidenden Episoden ihrer eigenen Lebensgeschichte sowie der Erfahrungen ihrer Familie auf. Ihre jüdisch-südafrikanische Herkunft ist Anstoß, den Überresten eines palästinensischen Dorfes nachzugehen, das heute unter dem „Südafrikanischen Wald“ in Israel begraben liegt, für den sie als Kind einmal Geld gesammelt hat; dieser familiäre Zusammenhang führt sie ferner in die oberhessische Kleinstadt, aus der ihrer Großmutter gerade noch die Flucht vor dem Terror der Nationalsozialisten gelungen ist; und sie ist schließlich der leeren Fläche in Kapstadt konfrontiert, wo sich einmal das lebensvolle Viertel District Six befand, in unmittelbarer Nachbarschaft ihres Wohnviertels. Die früheren Einwohner*innen wurden vom Apartheidsregime deportiert. Allen drei Orten ist gemeinsam, dass das, was ihnen hier Bedeutung gibt, durch Gewalt und Verwaltungshandeln ausgelöscht wurde. Durch die Darstellung ihrer eigenen Erfahrung, zu der auch die Arbeit an einem Film über die drei Orte gehört, zeigt die Autorin Möglichkeiten auf, mnemonische Spuren auf persönlicher Ebene und darüber hinaus aufzufinden. Zugleich verweist sie auf die Verstrickung in Komplizität durch die hier angesprochenen Prozesse, mit der sich jegliche ernsthafte Auseinandersetzung konfrontiert sieht. Diese Positionierung steht im Gegensatz zu vereinfachenden und destruktiven Reaktionen auf die Problematik von Komplizität und Komplexität, von Ethnonationalismus und Identitätspolitik.

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20

Vice, Sue. "Claude Lanzmann’s The Four Sisters (2017) on Television." Race and European TV Histories 10, no. 20 (December 1, 2021): 18. http://dx.doi.org/10.18146/view.269.

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This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained interviews, absence of location footage and reliance on certain kinds of shot construction and mise-en-scène, arise from this televisual production context, as well as seeming to mark an ambivalent effort on the director’s part to redress his earlier work’s focus on male testifiers.

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21

Breitsohl, Louis Levi. "Bearing Witness in Analog and Digital Witness Films: Ethical Aesthetics in Shoah [1985] and Waltz with Bashir [2008]." Genealogy 6, no. 1 (February 11, 2022): 14. http://dx.doi.org/10.3390/genealogy6010014.

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In the ongoing and passionate debates over the digitalization of visual media, many questions about the ontology or materiality of the new digital image have been raised. Analog representation is often thought of in terms of indexicality and sometimes a naive belief in the truthfulness of the photographic image, whereas the digital image is, in a way, no longer an image anymore, but a set of data in flux, superficially coded and easy to manipulate. The following article examines how this shift to digitalization affects the ethical genre per se: the witness film. In a film analytical close reading of Claude Lanzmann’s Shoah and Ari Folman’s Waltz with Bashir, resonances become visible to psychoanalysis, Deleuzian film philosophy and the debates over the materiality of the analog and digital image. Lanzmann draws on a specific kind of indirect indexicality, which is highly interested in the psychic and embodied realities of surviving, witnessing and the passing of time, whereas Folman develops a politics of the powers of the false: truthfulness, accessibility and memorability are abolished in favor of false images, screen-memories and traumatic mis/representation, which are staged noticeably digital and altered, revolving around the impossibility to grasp the ungraspable.

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22

Emery, Meaghan. "Book Review: Ferzina Banaji: France, Film, and the Holocaust: From le genocide to la Shoah." Journal of European Studies 43, no. 3 (August 27, 2013): 262–63. http://dx.doi.org/10.1177/0047244113493382c.

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23

Zertal, Idith. "Connaissance et culpabilité : les Juifs de Palestine face à l'extermination des Juifs en Europe." Annales. Histoire, Sciences Sociales 48, no. 3 (June 1993): 679–90. http://dx.doi.org/10.3406/ahess.1993.279164.

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Quand Yitzhak (Antek) Zuckermann, l'un des chefs historiques de la Résistance juive dans le ghetto de Varsovie, est mort dans son kibboutz voici une dizaine d'années, on trouva dans ses effets personnels un enregistrement de sa voix. Le vieux combattant, qui préparait un film documentaire sur la Shoah et les Juifs de Palestine, y donnait libre cours à son amertume : « Le pays d'Israël, notre pays bien-aimé, ne nous a pas aimés […]. On nous a abandonnés. Un énorme abîme s'est creusé entre nous […]. Cela ne sera jamais pardonné »'. En 1945 déjà, à Londres, lors de la première conférence sioniste mondiale après la guerre, le jeune résistant juif régla ses comptes avec la direction du mouvement sioniste.

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24

Smith, Marquard. "Observance, Notes towards Decipherability." Journal of Visual Culture 17, no. 1 (April 2018): 68–96. http://dx.doi.org/10.1177/1470412918772462.

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Provoked by the terrorist-related murders in England that marked the spring and summer of 2017, I have felt compelled to write this article on the idea of observance (observe, care, follow, obey). I engage with this idea in the context of our contemporary Memory Industry – that confluence of memorialization, remembrance and commemoration culture; Memory Studies and Trauma Studies; tangible and intangible heritage; digital memory and media archaeology; and its series of facing-backwards-to-go-forwards impulses (the archival impulse, the genealogical impulse and the archaeological impulse). Through the Contemporary’s prism, I deploy observance as a rejoinder to the seeming irreconcilability between, on the one hand, the incomprehensibility of the Shoah and, on the other hand, the prevalence of its rendering in figurative and abstract memorials, literature, art and film; and by way of dark tourism, Shoah selfies and genealogy websites. I propose that, because of its assorted senses, as a grievable moment observance may be a way of negotiating (without necessarily wanting or needing to reconcile) such irreconcilability. I argue that this is possible because of how observance (observing a minute’s silence, for instance) as a (secular, vernacular) performative action somehow opens up a space of the imagination that might lead, for good and ill, to a decipherability all the more necessary in our interminable state of exception that is the Contemporary.

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25

SoWon Kang. "Identity of Post-Shoah Generation in the Space of Chantal Akerman’s Film -Focusing on No Home Movie-." Contemporary Film Studies 14, no. 3 (August 2018): 213–50. http://dx.doi.org/10.15751/cofis.2018.14.3.213.

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26

Guimonnet, Christine. "Étudier l’histoire et la mémoire de la Shoah à travers un film de fiction : La petite prairie aux bouleaux." Didactica Historica 5, no. 1 (2019): 57–62. http://dx.doi.org/10.33055/didacticahistorica.2019.005.01.57.

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The Holocaust topic was first addressed as history, then as memory. It is now a school-tailored one. Yet teaching the Holocaust has changed over years, due to new school practices including going to Auschwitz-Birkenau, as well as historiographical changes or the use of witness’s accounts. To what extent does fiction make a sense? The filmmaker is herself a former Birkenau deportee and the character is the alias of Marceline LoridanIvens. As a consequence, studying this film leads to better understanding of Auschwitz-Birkenau history as a place, including the way visitors and witnesses grasp it.

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27

Zhang, Pingfan. "“A More Personal Look at Her Life”: Family Narrative, Gender, and Transnational Memories in The Girl and the Picture." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 2 (September 1, 2022): 91–117. http://dx.doi.org/10.1215/02705346-9787028.

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Abstract Recent decades have witnessed a booming film industry portraying the Nanjing Massacre, both within and outside Mainland China, which is closely related to contemporary Chinese political, socioeconomic, and cultural transformations. This article examines the USC Shoah Foundation's 2018 documentary film The Girl and the Picture, featuring the well-known Nanjing Massacre female survivor Xia Shuqin. It argues that the cinematic rendition of Xia's family stories serves as a piercing incision into Nanjing Massacre historical memories and weaves together the personal with the national, and transgenerational with transnational memories. The Girl and the Picture radicalizes cinematic discourses on the Nanjing Massacre from multiple angles and not only sheds light on the emerging field of Nanjing Massacre studies but also contributes to our understanding of the ongoing memory boom of the Nanjing Massacre in the context of globalization. By delivering the stories of Xia along both family and transnational lines, The Girl and the Picture points out a new way to cope with the memory crisis of the Nanjing Massacre, and to take responsibility for transmitting the memories across generational, national, gender, and ethnic boundaries.

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Postec, Ziva, and Évelyne Chauvet. "Rencontre avec Ziva Postec : « Comment j’ai monté le film Shoah, par Ziva Postec », suivi d’un entretien avec Évelyne Chauvet." Revue française de psychanalyse 84, no. 4 (2020): 941. http://dx.doi.org/10.3917/rfp.844.0941.

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29

Kelly, V. "Film and the Shoah in France and Italy, Giacomo Lichtner (Edgware, UK: Valentine Mitchell, 2008), xii + 244 pp., $74.95." Holocaust and Genocide Studies 23, no. 3 (December 1, 2009): 503–6. http://dx.doi.org/10.1093/hgs/dcp054.

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30

Ledoux, Sébastien. "RÉMY BESSON, Shoah. Une double référence ? Des faits au film, du film aux faits, Paris, MkF Éditions, 2017, 207 p., ISBN 979-10-92305-36-4." Revue d’histoire moderne & contemporaine 65-4, no. 4 (2018): 218. http://dx.doi.org/10.3917/rhmc.654.0218.

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31

Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (November 1, 2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.

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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.

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32

Kuczyńska-Koschany, Katarzyna. "Rwanda z reportaży Jeana Hatzfelda – czytana przez różnie formułowane definicje ludobójstwa." Narracje o Zagładzie, no. 6 (November 22, 2020): 279–91. http://dx.doi.org/10.31261/noz.2020.06.15.

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The present essay reflects upon the outstanding, from the reporter’s craft point of view, and unprecedented when it comes to empathy (which sometimes borders on European, colonialcomplicity) books by Jean Hatzfeld (born 1949), which consist of five volumes on Rwanda: Dans le nu de la vie. Récits des marais rwandais (2000), Une saison de machettes (2002), La stratégie des antilopes: récits (2007), Engelbert des collines (2014), Un papa de sang (2015). Various definitions of genocide (starting with the notion itself, authored by criminal lawyer, a Polish Jew Rafał Lemkin (1900–1959)), that were also formulated ad hoc in works of art (thecase of a feature film by Joanna Kos-Krauze and Krzysztof Krauze Ptaki śpiewają w Kigali [Birds Are Singing in Kigali]) prove to be a kind of Ariadne’s thread. Embedding Hatzfeld’s reportages in the context of the notion of genocide aims at broadening the field of associations for both, the narrator himself and his Rwandan interlocutors, whosporadically and comparatively/by way of comparison refer to the Shoah.

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33

Charny, Israel W., and Daphna Fromer. "A study of attitudes of viewers of the film ?Shoah? towards an incident of mass murder by Israeli soldiers (Kfar Kassem, 1956)." Journal of Traumatic Stress 5, no. 2 (April 1992): 303–18. http://dx.doi.org/10.1007/bf00976718.

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34

Charny, Israel W., and Daphna Fromer. "A study of attitudes of viewers of the film „shoah” towards an incident of mass murder by israeli soldiers (kfar kassem, 1956)." Journal of Traumatic Stress 5, no. 2 (April 1992): 303–18. http://dx.doi.org/10.1002/jts.2490050214.

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35

Saraswati, Winarning Pratiwi. "LA TRANSFORMATION DU ROMAN UN SAC DE BILLES AU FILM: UNE ETUDE SELON L'ECRANISATION ET LA SEMIOLOGIE." Lingua Litteratia Journal 6, no. 1 (June 12, 2019): 54–64. http://dx.doi.org/10.15294/ll.v6i1.30840.

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Le roman Un sac de billes est l’un des œuvres de Joseph Joffo. Ce roman prend le thème sur la Seconde Guerre mondiale en France, du point de vue des minorités, les Juifs. L’événement élucidé dans ce roman est La Shoah, l’extermination systématique entre cinq et six millions de Juifs par le Nazi, perpétré sur l’ordre d’Adolf Hitler. Ce roman raconte les deux frères exilés qui ont échappé aux soldats nazis, et ont dû se séparer de leurs familles. Un sac de billes a été publié par les Éditions Jean-Claude Lattès en 1973 et a été traduit en 18 langues jusqu'aujourd’hui. Ce roman est transformé par Christian Duguay au film en 2017. Cette recherche vise à analyser la transformation du roman au film en utilisant la théorie de l’écranisation de Pamusuk Eneste. Cette théorie se compose de la réduction, l’addition, et les changements variés de scène dans le déroulement, le personnage, et le fond. La chercheuse analyse aussi les transformations de l’adaptation Un sac de billes en utilisant la théorie sémiologique de Roland Barthes avec les cinq codes. Ce sont le code herméneutique, le code sémique, le code symbolique, le code proarétique et le code culturel. Les objets matériels dans cette recherche sont le roman Un sac de billes de Joseph Joffo et le film du même titre de Christian Duguay. Tandis que les objets formels sont la théorie de l’écranisation et la théorie sémiologique de cinq codes. La chercheuse utilise l’approche qualitative avec la méthode d'analyse descriptive. Dans la transformation du déroulement, il y a trente-cinq réductions, vingt-huit additions, et quinze variations. D’ailleurs, dans l’écranisation du personnage, il y a treize réductions, dix additions, et sept variations. Alors, dans l’écranisation du fond, il y a onze réductions, huit additions, et cinq variations. Dans la théorie sémiologique de cinq codes, la chercheuse a découvert trois codes importants, à savoir le code herméneutique, le code sémique et le code proairétique. C'est-a-dire que le réalisateur modifie les scènes du film avec un objectif spécifique: montrer le sens de l'histoire et les connotations cachées dans le roman, et les afficher dans le film dans l'espoir que le spectateur comprenne mieux les signes cachés.

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Suleiman, Susan Rubin. "“A Scandalous Woman”? Beauvoir in Paris, January 2008." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 221–23. http://dx.doi.org/10.1632/pmla.2009.124.1.221.

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Simone De Beauvoir, France's most famous woman intellectual, was born in paris on 9 January 1908. Exactly one hundred years later, Paris gave her a birthday party: an international conference presided over by another famous woman intellectual, Julia Kristeva. The conference, held during 9–11 January in the remains of a Franciscan convent that the city bequeathed to the University of Paris, attracted a large crowd despite the rainy weather and the drafty Gothic hall, where you had to sit in your winter coat. At the opening and closing sessions, two of Nicolas Sarkozy's female ministers made an appearance; in between, the speakers included celebrities who had known Beauvoir (most notably the maker of the film Shoah, Claude Lanzmann, who was her young lover in the 1950s and who now edits the journal she and Sartre founded, Les temps modernes), well-known writers and journalists, activists in the women's movement who had worked with Beauvoir in the last years of her life, and old friends, who shared their reminiscences, as well as translators of her works and scholars young and old from all over the world. Beauvoir's adopted daughter and literary executor, Sylvie Le Bon de Beauvoir, was in attendance throughout the proceedings; all in all, more than fifty people participated in the program. The first Simone de Beauvoir Prize for Women's Freedom was awarded to two women writers known for their courageous critiques of Islamic fundamentalism: the Somalian Ayaan Hirsi Ali and the Bangladeshi Taslina Nasreen, who could not be there in person but who sent greetings. There were film screenings in the evenings, a “cocktail” at City Hall, and a concluding banquet at La Coupole, where Beauvoir had lunched with Sartre every day for many years.

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Sheppard, Richard. "Book Reviews : Auschwitz im Widerstreit: Zur Darstellung der Shoah in Film, Philosophie und Literatur. By Sven Kramer. Wiesbaden: Deutscher Universitäts-Verlag, 1999. Pp. 141. DM38,-." Journal of European Studies 30, no. 117 (March 2000): 115–16. http://dx.doi.org/10.1177/004724410003011711.

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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (November 1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.

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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Performance’ at the University of Glasgow in September 1995, is a free-lance dramatist who has been living in Germany since 1981, where he has written award-winning plays for stage and radio, and a prizewinning opera libretto, as well as directing for stage, television, and radio. His new stage play, Camp Comedy, set in Theresienstadt, was inspired by this paper, and includes original cabaret material: it centres on the nightmare dilemma encountered by Kurt Gerron in making the Nazi propaganda film, The Fuhrer Gives the Jews a Town. Roy Kift has contributed regular reports on contemporary German theatre to a number of magazines, including NTQ. His article on the GRIPS Theater in Berlin appeared in TQ39 (1981) and an article on Peter Zadek in NTQ4 (1985).

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Janicka, Elżbieta, and Tomasz Żukowski. "Przemoc filosemicka." Studia Litteraria et Historica, no. 1 (December 31, 2012): 1–39. http://dx.doi.org/10.11649/slh.2012.001.

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Philo-Semitic abuseThe article analyses Jolanta Dylewska’s documentary film Po-lin (2008). The authors offer new conceptual categories facilitating the description of the manner in which the objectification of Jews takes place in Po-lin – and in the broader context of Polish narrative of Jews and the Holocaust – under the guise of their subjectification; exclusion under the guise of inclusion. The described symbolic practices include:1. Organising a narrative of the Holocaust by means of exteriorisation; universalisation; locating outside the history; considering the Shoah as a natural disaster, and finally as part of the divine plan.2. Constructing the image of “a Jew” by: homogenisation of the group, folklorisation, aesthetisation and separation. Examining the case out of the context allows for omitting the wider sphere of interaction, in which the exclusion as well as symbolic and physical abuse carried out by the majority group came to light.3. Creating a figure of “the good Jew”, which shows gratefulness to the domineering group and full understanding of anti-Semitic discriminatory practices. The function of “the good Jew” is to legitimise the majority story and to discipline or repress anyone who undertakes actions to change the status quo.The above-describe devices produce the effects of eliminating real experiences of real people who suffered the anti-Semitic abuse, blocking afterthoughts while preserving the heartening image of Poland and Poles.

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Kirjner, Joaquín. "MEMORIA, CINE E IDENTIDAD EN TORNO AL CONFLICTO PALESTINO-ISRAELÍ: HACIA UNA COMPRENSIÓN HISTÓRICA DEL JUICIO SIVAN VS. FINKIELKRAUT." Secuencias, no. 54 (March 24, 2022): 75–91. http://dx.doi.org/10.15366/secuencias2021.54.004.

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El objetivo del presente artículo consiste en analizar los modos de construir el recuerdo de manera colectiva y de representar el Holocausto y la Nakba en el contexto del conflicto palestino-israelí, atendiendo al fenómeno cinematográfico y el conflicto político e identitario que se desprende de ello. En este sentido, se estudiará el documental Route 181, fragments d’un voyage en Palestine-Israël (Eyal Sivan y Michel Khleifi, 2003) y su intertextualidad con el film Shoah (Claude Lanzmann, 1985), estableciendo los lineamientos teóricos para el análisis de las naciones y la construcción de narrativas y memorias colectivas, y atendiendo a la producción cinematográfica como medio de representación de ese pasado. Principalmente, se ahondará en la polémica desatada a partir del lanzamiento de Route 181, la crítica realizada por Alain Finkielkraut y la disputa llevada a juicio en 2006 por Sivan, ya que se inscribe en las batallas por la memoria y las maneras de construir el pasado en el contexto del conflicto palestino-israelí. Las interpretaciones sobre la película responden a los marcos narrativos de las comunidades nacionales y operan como fuente de análisis para comprender las lógicas de la memoria y pugna nacionales. Para comprender históricamente esta problemática, se analizará el rol que ocupan el Holocausto y la Nakba en las memorias colectivas y la incidencia que tienen en la articulación de argumentos y discursos durante el juicio. La polémica, entonces, funciona como caso específico para analizar dinámicas concretas del conflicto palestino-israelí.

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Arcanjo, Fábio Ávila. "Shoah, de Claude Lanzmann." Cadernos de Estudos Linguísticos 63 (November 29, 2021): e021037. http://dx.doi.org/10.20396/cel.v63i00.8665158.

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Este artigo objetiva mobilizar algumas categorias importantes para analisar o documentário Shoah, dirigido por Claude Lanzmann e lançado nos cinemas em 1985. A estruturação do filme se dá por meio das interações realizadas entre o documentarista e os atores sociais, que integram a relação tripartite – vítimas, perpetradores e testemunhas oculares – discutida pelo historiador americano Raul Hilberg. Embora o filme convoque entrevistados que participam das três categorias, nosso artigo privilegiará aqueles que pertencem à condição de vítimas. O que iremos observar é a relação existente entre a enunciação fílmica pautada pela rememoração do trauma, junto às categorias da melancolia e do luto. Discutiremos se os sobreviventes dos campos de extermínio, que participam do documentário, podem ser pensados como sujeitos melancólicos, acionando uma categoria subjetiva trabalhada por Giorgio Agamben (2008), a saber, o muçulmano. Além disso, problematizaremos o equacionamento existente entre o trabalho de luto e a perlaboração do passado, tomando como ponto de partida o acionamento do dever de transmissão dos retornantes.

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Baumann, Roland. "Films polonais et images de la Shoah." Revue d�Histoire de la Shoah N�195, no. 2 (2011): 461. http://dx.doi.org/10.3917/rhsho.195.0461.

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43

van der Poel, Stefan. "Memory crisis: The Shoah within a collective European memory." Journal of European Studies 49, no. 3-4 (August 12, 2019): 267–81. http://dx.doi.org/10.1177/0047244119859180.

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This paper analyses the memory crisis resulting from conflicting perceptions of the Shoah in Western and Central Europe. To clarify this memory crisis, crucial aspects of these divergent perceptions will be discussed. From the Western perspective, there is a strong tendency to underline the universal meaning and importance of the Shoah, and to institutionalize this in UN and EU resolutions and declarations. From an Eastern perspective, this process of globalizing Shoah discourse is often considered to be a Western preoccupation and as just another mechanism to promulgate further Western cultural domination. In Central Europe the supposed singularity of the Shoah is not only often doubted, but the focus is shifted far more on to processing communism and identity-based policies. To clarify and illustrate how the Shoah is reflected on in historical debates and the public domain, recent Polish and Hungarian monuments, museums, literature and films are discussed.

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Nascimento, Lyslei. "Humor e Shoah: O trem da vida, de Radu Mihaileanu." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 3, no. 4 (March 30, 2009): 56–61. http://dx.doi.org/10.17851/1982-3053.3.4.56-61.

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Um vilarejo da Ucrânia, na Europa Oriental, no ano de 1941, é o cenário do filme O trem da vida, do diretor romeno Radu Mihaileanu. O roteiro, ao se afastar de dados históricos e de uma configuração realista da Shoah, configura-se como uma fábula. Não é fácil fazer humor, muito menos, sobre a catástrofe. O humor presente no filme de Mihaileanu é reflexivo, expondo, com leveza, as fraturas do discurso.

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Moreira Chaves, Geovano. "O cinema polonês nos trilhos da História." Faces de Clio 5, no. 10 (October 16, 2019): 212–22. http://dx.doi.org/10.34019/2359-4489.2019.v5.28722.

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As afinidades entre política e religião permitem múltiplos olhares, sendo o cinema um importante meio pelo qual estas relações se manifestam. Neste sentido, este trabalho procura refletir acerca dos aspectos do antissemitismo no território polonês no período que antecede a Shoah, para em seguida destacar as relações entre a racionalização da modernidade e a Shoah no contexto polonês e por fim analisar a obra “As 200 crianças do Doutor Korczac”, de modo que este filme possa exemplificar por meio de representações imagéticas alguns “trilhos” da história da Polônia

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Darma, Surya. "ANALISIS KARAKTER TOKOH FILM 5 CM SUTRADARA RIZAL MANTOVANI DENGAN KAJIAN SEMIOTIKA." PROPORSI : Jurnal Desain, Multimedia dan Industri Kreatif 5, no. 2 (May 29, 2021): 184. http://dx.doi.org/10.22303/proporsi.5.2.2020.184-197.

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<p>Film 5 cm adalah film drama Indonesia, dirilis pada 12 Desember 2012. Film 5 cm disutradarai oleh Rizal Mantovani dengan perusahaan produksi Soraya Intercine Films merupakan adaptasi dari novel 5 cm karya Donny Dhirgantoro. Penelitian ini bertujuan untuk mengetahui makna denotasi, konotasi, dan mitos dalam film 5 cm dengan teori semiotika model Roland Barthes. Objek Penelitian dan Fokus Utama penelitian ini adalah “Analisis Karakter Tokoh Film 5 cm Sutradara Rizal Mantovani dengan Kajian Semiotika”. Sedangkan unit penelitian yaitu analisis karakter tokoh film 5 cm dibedah dengan teori semiotika Roland Barthes. Tahap pemaknaan <em>film </em><em>5 cm </em>tidak hanya dilakukan secara denotatif namun juga secara konotatif yaitu sebagai tanda yang muncul pada karakter tokoh pada film 5 cm. Makna tersebut dapat dilihat dalam film 5 cm berdasarkan struktur pembentuk film. Struktur film 5 cm didukung petanda yang dimunculkan pada karakter tokoh. Karakter tokoh film 5 cm yang dianalisis pada penelitian ini yaitu Zafran (Herjunot Ali), Arial (Denny Sumargo), Ian (Saykoji), Riani (Raline Shah), dan Genta (Fedi Nuril). Hasil Analisis Karakter Tokoh Film 5 cm Sutradara Rizal Mantovani dengan Kajian Semiotika yaitu karakter yang ditunjukan dari sosok Arial adalah karakter dengan cowok maskulin, dengan postur tubuh yang proporsional, dan macho, selanjutnya sosok Ian adalah sosok yang humoris, kemudian sosok Arini adalah satu-satunya wanita dalam persahabatan tersebut yang dengan pola pikir dewasa, berjiwa keibuan, dan peduli. Interpretasi dari sosok Genta adalah seorang yang karismatik, bertanggung jawab, pola pikir realistis, dan giat bekerja. Karakter Zafran yaitu seorang yang puitis, humanis, idealis, dan fantastis berdasarkan simbol-simbol yang muncul pada film 5 cm.</p>

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Wein, Dorothee. "Eine Welt ohne Überlebende? Die Online-Anwendung "Zeugen der Shoah"." Didactica Historica 5, no. 1 (2019): 131–37. http://dx.doi.org/10.33055/didacticahistorica.2019.005.01.131.

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At the end of the «Era of the Witness», valuable sources remain for education based on video testimony collections, which, however, require a different didactic approach than a live encounter with a survivor. The online application «Witnesses of the Shoah» developed at Freie Universität Berlin, includes interview films, contextual materials and interactive tasks. It serves as an example to show how the pedagogical use of video interviews in (school) education can be designed, which aspects of testimony are discussed, and how adolescents relate to the survivors’ reports.

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Wein, Dorothee. "Eine Welt ohne Überlebende? Die Online-Anwendung "Zeugen der Shoah"." Didactica Historica 5, no. 1 (2019): 131–37. http://dx.doi.org/10.33055/didacticahistorica.2019.005.01.131.

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At the end of the «Era of the Witness», valuable sources remain for education based on video testimony collections, which, however, require a different didactic approach than a live encounter with a survivor. The online application «Witnesses of the Shoah» developed at Freie Universität Berlin, includes interview films, contextual materials and interactive tasks. It serves as an example to show how the pedagogical use of video interviews in (school) education can be designed, which aspects of testimony are discussed, and how adolescents relate to the survivors’ reports.

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49

Santana, Jorge Alves. "Quando o Kadish é para nossos filhos e para os filhos dos outros: estratégias socioculturais do Sonderkommando em Saul fia/Filho de Saul, de László Nemes." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 11, no. 21 (November 26, 2017): 106–26. http://dx.doi.org/10.17851/1982-3053.11.21.106-126.

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Em uma crucial sequência do filme Saul fia/Filho de Saul, 2015, do diretor húngaro László Nemes, acompanhamos, no auge da “Solução Final” na Shoah, um membro do Sonderkommando que é Saul Ausländer (Géza Röhrig) abordando um rabino nos territórios de Auschwitz-Birkenau: “Rabbi: Livre-se dele. Você conhece a reza? Eu rezarei. O nome dele. Não dá para fazer nada além disso. Saul: Não é o suficiente. Você sabe disso. Você sabe!” Saul, nesse contexto, deseja obsessivamente realizar o ritual do Kadish para um garoto, apresentado como seu suposto filho, que morrera recentemente na câmara de gás e deverá ter o corpo cremado como centenas de milhares de pessoas nesses específicos campos de concentração e de extermínio. Tendo esse filme como corpus de estudo, observaremos e analisaremos como uma prática religiosa e cultural é capaz de reestabelecer memórias da tradição judaica em plena Shoah, ressensibilizar sujeitos desumanizados pelos variados e crônicos dispositivos de violências, bem como, e sobretudo, estender essa prática do cuidado e do respeito humano para os demais povos envolvidos pela tragédia.

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Jain, Rupali. "CLASSICAL EXPERIMENTS IN CINE MUSIC: IN THE CONTEXT OF ASAVARI THAT." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3431.

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We should consider the beginning of film music with the advent of speaking films. In the era of silent films, there used to be an orchestra near the screen in big cities, playing music suited to the changing emotions of the on-screen story, but the lyrics also came as an integral part of the film along with the speaking films and musicians Also has a separate identity. So the first cine music and its composer, we will consider Feroz Shah Mistry, the composer of the first speaking film "Alamara", released on 14 March 1931 at the Majestic Cinema in Mumbai and the first cine song "De De Khuda Ke Naam Pe Pyare". , There is strength to give away, if you want something, if you ask me, you will have the courage to accept it. The singer of this song, the actor of the same film, WM. It was Khan, who sang it in the character of Fakir. The song was composed with a tabla and a harmonium, but unfortunately it could not be recorded, the songs of the ragas in the film also came from the same film, which was sung by Munni Bai, "Apne Maula Ki Main Jogan" Banungi ", the song was based on the raga" Bhairavi ". फिल्म संगीत का आरंभ हमें बोलती फिल्मों के आगमन से ही मानना चाहिए। मूक फिल्मों के दौर में बड़े शहरों में स्क्रीन के पास एक आॅरकेस्ट्रा रहा करता था, जो परदे पर चल रही कहानी के बदलते भावों के अनुकूल संगीत बजाया करता था, पर बोलती फ़िल्मों के साथ गीत-संगीत भी फ़िल्म का अंतरंग हिस्सा बनकर आए और संगीतकार की भी एक अलग पहचान बनी। अतः प्रथम सिने संगीत और उसका संगीतकार हम 14 मार्च, 1931 को मुंबई के मैजेस्टिक सिनेमा में रिलीज प्रथम बोलती फिल्म ’’आलमआरा’’ के संगीतकार फिरोज शाह मिस्त्री को ही मानेंगे तथा पहला सिने गीत ’’दे दे खुदा के नाम पे प्यारे’’, ताकत है गर देने की, कुछ चाहे तो अगर माँग ले मुझसे, हिम्मत हो गर लेने की ’’ को मानेंगे। इस गीत के गायक इसी फिल्म के अभिनेता डब्ल्यू.एम. खान थे, जिन्होंने इसे फ़कीर के किरदार मंे गाया था। इस गीत को मात्र तबले और एक हारमोनियम के साथ सृजित किया गया था, किंतु दुर्भाग्यवश इसका रिकार्ड नहीं बन सका, फिल्म में रागों पर आधारित गीतों का चलन भी इसी फिल्म से आया, जिसमें मुन्नी बाई का गाया, ’’अपने मौला की मैं जोगन बनूँगी ’’, यह गीत राग ’’भैरवी’’ पर आधारित था।

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