Collection of essays exploring the controversies surrounding images of the Holocaust. 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 visualrepresentations 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.
Show moreCollection of essays exploring the controversies surrounding images of the Holocaust. 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 visualrepresentations 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.
Show moreIntroduction: Seeing Against the Grain: Re-visualizing the
Holocaust - David Bathrick
On the Liberation of Perpetrator Photographs in Holocaust
Narratives - Brad Prager
The Interpreter's Dilemma: Heinrich Jöst's Warsaw Ghetto
Photographs - Daniel H. Magilow
Whose Trauma Is It? Identification and Secondary Witnessing in the
Age of Postmemory - Elke Heckner
No Child Left Behind: Anne Frank Exhibits, American Abduction
Narratives, and Nazi Bogeymen - Lisa J. Nicoletti
Auschwitz as Hermeneutic Rupture, Differend, and Image malgré tout:
Jameson, Lyotard, Didi-Huberman - Sven-Erik Rose
Claude Lanzmann's Shoah and the Internionality of the Image -
Michael D'Arcy
For and Against the Bilderverbot: The Rhetoric of
"Unrepresentability" and Remediated "Authenticity" in the German
Reception of Steven Spielberg's Schindler's List Reception of
Steven Spielberg's Schindler's List - Karyn Ball
Celan's Cinematic: Anxiety of the Gaze in Night and Fog and
"Engführung" - Eric Kligerman
Affect in the Archive: Arendt, Eichmann and The Specialist - Darcy
C. Buerkle
Home-Movies, Film Diaries, and Mass Bodies: Péter Forgác's Free
Fall Into the Holocaust - Jaimey Fisher
Laughter and Catastrophe: Train of Life and Tragicomic Holocaust
Cinema - David Brenner
"Heil Myself!": Impersonation and Identity in the Comedic
Representation of Hitler - Michael D. Richardson
BRAD PRAGER is Associate Professor of German at the University of Missouri, Columbia. BRAD PRAGER is Associate Professor of German at the University of Missouri, Columbia.
Adds another substantial document to analyses of visual
representations of the Holocaust.
*BIOGRAPHY*
Has the feel of an intense seminar. . . . What emerges from these
essays is a fresh look at the canon of Holocaust representation,
and therefore a new appreciation for what is seen, and how memory
shapes our attempt to salvage something from the ashes.
*JOURNAL FOR GENOCIDE STUDIES*
Innovative approaches to one of the most difficult issues in German
film and visual culture.
*H-NET REVIEWS*
An important contribution . . . . These essays transcend the
anxieties surrounding Holocaust representation that began with
Adorno's aesthetic interdiction and are attuned to the fruitful
possibilities of analyzing the production and reception of
Holocaust imagery.
*SHOFAR*
A welcome, well-wrought contribution to the scholarship about how
we deal with traumatic events, ethically, poetically, visually, and
aurally.
*GERMAN QUARTERLY*
An excellent collection of essays which, without exception, are
informative, well researched, reasonably argued, and lucidly
written.
*GERMAN STUDIES REVIEW*
Seeks to explore recent debate . . ., bringing together a range of
essays on the theory and practice of visual representation of the
Shoah. At the heart of this collection is inevitably the vexed
issue of the Bilderverbot, the much-spoken-about 'unspeakability'
of the Holocaust.
*MODERN LANGUAGE REVIEW*
The strength of this volume lies in its wealth of materials and the
diverse fields of study which it informs. It is theoretically
astute and generously illustrated . . . thus making for a highly
inspiring read. . . . [A]n essential sourcebook for scholars,
graduate and undergraduate students in Holocaust and Visual Studies
. . . .
*MONATSHEFTE*
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