1,721,107 research outputs found
It looks pretty from a distance : eco-memory and the vitality of Holocaust landscapes in Poland
No full textHolocaust scholarship of the post-witness era has turned increasingly to environmental histories of the event as a means of implicating ecological sites and more-than-human lifeforms as powerful agents of memory. In this context, emergent concepts such as ecological memory and witnessing become useful paradigms for representing and remembering the Holocaust in places marked by the absence or erasure of human voices in particular. This article examines the role and representation of these concepts in Polish directors Anka and Wilhelm Sasnal's film It Looks Pretty from a Distance ( Z daleka widok jest piekny, 2011), in which ecological sites and landscapes bring the repressed local history of wartime Jewish murder and Catholic Polish collaboration to the surface of a provincial Polish community
Roberto Frankenberg’s Traces: Locating the Holocaust in the Landscapes of Central-Eastern Europe
No full textConcentrationary art: Jean Cayrol, the Lazarean and the everyday in post-war film, literature, music and the visual arts
No full textMatilda Mroz (2020). Framing the Holocaust in Polish aftermath cinema: posthumous materiality and unwanted knowledge
No full textMemorialising the (Un)Dead Jewish Other in Poland: Spectrality, Embodiment and Polish Holocaust Horror in Władysław Pasikowski’s Aftermath (2012)
No full textThis article analyses the function and symbolic currency of Poland’s recent literary and artistic motif of the returning Jew, which brings the nation’s Jewish Holocaust victims back to their homes as ghosts, spectres and reanimated corpses. It explores the ability of this trope—the defining feature of what I call ‘Polish Holocaust horror’—to cultivate the memory of complicitous and collaborative Polish behaviour during the Holocaust years, and to promote renewed Polish-Jewish relations based upon a working-through of this difficult history. In the article I explore Władysław Pasikowski’s 2012 film Aftermath as a self-reflexive product of this experimental genre, which has been considered ethically ambiguous for its necropolitical treatment of Jews and politically controversial for its depiction of Poles as perpetrators. My analysis examines haunting as central to these popular cultural constructions of Holocaust memory—a device that has been used within the genre to mourn but also expel guilt for the previously forgotten or supressed dispossession and murder of Jews by some of their Polish neighbours
Surrealism and creaturely Holocaust killing in Juraj Herz's <i>The Cremator</i>
No full textLiterary and artistic depictions of the Holocaust have long been shaped by a strictly humanising impulse; that is to say, they have been produced by and for the human, and have aimed to emphasise the loss of six million Jewish victims as humans. Situating itself within emerging scholarship on the recent turn to the nonhuman within Holocaust representation and memorialisation, this chapter examines the unusual depiction of Jewish murder in Ravensbrück survivor and Czech Jew Juraj Herz’s macabre comedy horror The Cremator (Spalovač Mrtvol, 1969) as a distinctly nonhuman undertaking which complicates the abiding divisions characterising Holocaust studies: those of victim and perpetrator, but also of human and animal. Combining Holocaust scholarship with perspectives from art criticism and animal studies, it traces the film’s production of what Carrie Rohman has called a “creatural consciousness” or aesthetic, in which the on-screen presence of animals in addition to formally non-anthropocentric elements and aesthetics comes to express the “uncanny animality” of the Holocaust
Invisible wounds: Negotiating post-traumatic landscapes
No full textInvisible Wounds: Negotiating Post-Traumatic Landscapes emerges from a long-standing collaboration between researchers from
the University of Sheffield and Museums Sheffield. It demonstrates how perspectives from creative practice and disciplines in the Arts
and Humanities bring something distinctive to our understanding of places that have experienced and been shaped by trauma, as
well as approaches to recovery, rebuilding and repair.
Bringing together a collection of writing by researchers and their academic and artistic collaborators, each contribution explores
places with difficult and violent histories, where the trauma that occurred there remains unresolved and persists in the present. By focusing on the cultural representations of such sites – in photography, art, literature and film – the book offers critical insight into how we might interpret and respond to post-traumatic landscapes beyond the traditional approaches of construction, development and infrastructure
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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