Reconstructing the Collective Memory: Visual History and Representations of the Holocaust in Selected Works of Steven Spielberg

Relation ◽  
2007 ◽  
Vol 1 ◽  
pp. 233-246
Author(s):  
Carsten Hennig
Keyword(s):  
Collective Memory ◽  
Steven Spielberg ◽  
The Holocaust ◽  
Visual History

scholarly journals REFLECTION ON COLLECTIVE MEMORY IN THE MUSEUM

2020 ◽  
Keyword(s):  
United States ◽  
Discourse Analysis ◽  
Collective Memory ◽  
Age Differences ◽  
The United States ◽  
Museum Visitors ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
The Holocaust ◽  
Source Of Information

The article describes visitors’ interpretation and understanding of the narrative about the Holocaust in the United States Holocaust Memorial Museum. Visitors comments were the material for the analysis, used methodology was discourse analysis. Different discourses were singled out in visitors’ comments. Differences between visitors’ comments given in different years were ascertained. Age differences and differences among narratives of various groups of the Museum visitors were shown. It can be concluded that the Museum fulfills various functions. Besides being a place of commemoration, it accomplishes its educational function and serves as a source of information about the Holocaust.

Narrative, Testimony, Fiction

2016 ◽  
pp. 162-176 ◽  
Author(s):  
Jakob Lothe
Keyword(s):  
Collective Memory ◽  
Fictional Narratives ◽  
The Holocaust ◽  
The Individual

‘Narrative, Testimony, Fiction: The Challenge of Not Forgetting the Holocaust’, written by Jakob Lothe, explores the individual unconscious and its relationship to collective memory. In his essay, Lothe posits the interrelation between memory and forgetting as emblematic of Holocaust testimonies and fictional narratives, and serves to remind us of the epiphenomenal relationships to be found, and cultivated, across survivor literature.

Agreeing to Disagree on the Legacies of Recent History

2009 ◽  
Vol 12 (3) ◽  
pp. 375-395 ◽  
Author(s):  
Siobhan Kattago
Keyword(s):  
Collective Memory ◽  
National Socialism ◽  
National Narratives ◽  
Politics Of Memory ◽  
Agreeing To Disagree ◽  
The Past ◽  
The Enlightenment ◽  
The Holocaust ◽  
Communist Countries ◽  
Historical Difference

Since 1989, social change in Europe has moved between two stories. The first being a politics of memory emphasizing the specificity of culture in national narratives, and the other extolling the virtues of the Enlightenment heritage of reason and humanity. While the Holocaust forms a central part of West European collective memory, national victimhood of former Communist countries tends to occlude the centrality of the Holocaust. Highlighting examples from the Estonian experience, this article asks whether attempts to find one single European memory of trauma ignore the complexity of history and are thus potentially disrespectful to those who suffered under both Communism and National Socialism. Pluralism in the sense of Hannah Arendt and Isaiah Berlin is presented as a way in which to move beyond the settling of scores in the past and towards a respectful recognition and acknowledgement of historical difference.

“The Holocaust” or “The Salvation of Democracy”

2015 ◽  
Vol 42 (3) ◽  
pp. 140-161
Author(s):  
Sigifredo Leal-Guerrero
Keyword(s):  
Collective Memory ◽  
The Political ◽  
Public Concern ◽  
Social Agents ◽  
Anti Semitism ◽  
Derechos Humanos ◽  
The People ◽  
The Holocaust ◽  
Important Object ◽  
Political Spectrum

The massacre known as the Palace of Justice Holocaust is an important object of public concern in Colombia. After 29 years, social agents struggle in fields such as public activism, legal claims, and artistic creation to construct and legitimate accounts of what happened and inscribe them in collective memory as “the truth.” An analysis of these struggles, developed from inside and outside the state and from diverse points of the political spectrum, makes it possible to identify the meaning frames in which the people taking part in these struggles construct narratives of the massacre, such as the Jewish-Christian tradition, discourses on human rights and the memory of the Shoah, national security doctrines, and Nazi anticommunist anti-Semitism. La masacre conocida como el Holocausto del Palacio de Justicia es un importante objeto de interés público en Colombia. Después de 29 años de acontecida, diversos actores sociales continúan luchando en campos como el activismo político, los reclamos legales y la creación artística para construir y legitimar versiones sobre lo sucedido, e inscribirlas en la memoria colectiva como “la verdad”. Un análisis de esas luchas, desarrolladas desde dentro y fuera del Estado y desde diversos puntos del espectro político, permite identificar los marcos de sentido dentro de los cuales dichos actores construyen narrativas sobre la masacre. Algunos de esos marcos son la tradición judeo-cristiana, los discursos sobre los derechos humanos y la memoria de la Shoá, las doctrinas de seguridad nacional y el antisemitismo anticomunista nazi.

scholarly journals Is it OK to laugh about it yet? Hitler Rants YouTube parodies in Hebrew

2017 ◽  
Vol 4 (4) ◽  
pp. 105 ◽  
Author(s):  
Liat Steir-Livny
Keyword(s):  
Collective Memory ◽  
Defence Mechanism ◽  
German Film ◽  
Holocaust Memory ◽  
Cultural Field ◽  
Current Affairs ◽  
The Holocaust ◽  
Do So

The Holocaust was and remains a central trauma in Israel’s collective memory. For many years, the perception was that a humorous approach to the Holocaust might threaten the sanctity of its memory. Official agents of the Holocaust memory continue to believe in this approach, but since the 1990s, a new unofficial path of memory began taking shape in tandem with it. It is an alternative and subversive path that seeks to remember – but differently. In the last decade, YouTube has become a major cultural field including new humorous representations and images of the Holocaust. The article analyses a virtual phenomenon – “Hitler Rants” (or “Hitler Reacts”) parodies in Hebrew. These are internet memes in which surfers take a scene from the German film Downfall (Oliver Hirschbiegel 2004), showing Hitler ranting at his staff as the end of WWII approaches, and they add parodic subtitles in which Hitler rants about completely different things – current affairs and pesky little details. The incompatibilities between the visuals, the German screaming, and the subtitles turn Hitler into a ludicrous individual. The article objects to the notion that views the parodies as “cheapening” the Holocaust, and rather claims that they underscore humour’s role as a defence mechanism. Israelis, who live in a society in which the Holocaust memory is intensive and creates constant anxiety, seek to lessen reactions of tension and anxiety, even for a few minutes, and they do so through humour.

scholarly journals Remembering Sugihara, Re-framing Japan in Europe: Holocaust Era Altruism and the Politics of Cultural Memory

2006 ◽  
Vol 7 (1-2) ◽  
pp. 13-26
Author(s):  
Jane Marie Law
Keyword(s):  
World War Ii ◽  
Collective Memory ◽  
Jewish Community ◽  
Cultural Memory ◽  
World War ◽  
Cornell University ◽  
Post World War Ii ◽  
Jewish Diaspora ◽  
The Holocaust

Cornell University This paper is a comparison of two museums dedicated to the Japanese diplomat to Lithuania during World War II, Sugihara Chiune. Credited with having written over 6,000 visas to save the lives of Jews fleeing German occupied Poland into Lithuania, Sugihara is regarded in Europe, in Japan, and within the Jewish community as a whole as an altruistic person. This study is not an inquiry into the merits of Sugihara’s action, but rather astudy of how the process of memorializing, narrativizing and celebrating the life of Sugihara in two vastly different museums is part of a larger project of selective cultural memory on the part of various Japanese organizations and institutions. This paper situates the themes of altruism and heroism in the larger process of cultural memory, to see how such themes operate to advance other projects of collective memory. The case of Sugihara is fascinating precisely because the vastly differing processes of cultural memory of the Holocaust―in Lithuania, in Japan, and in a wider post-World War II, post Holocaust Jewish Diaspora each have different ways of constructing, disseminating and consuming narratives of altruism. This paper is based on fieldwork in Kaunas and Vilnius, Lithuania, in 2003, 2004 and again in 2005 and in Japan in 2005.

scholarly journals Como consumir – com prazer estético - os testemunhos do Holocausto: uma avaliação crítica sobre a Fundação Survivors of the Shoah

E-Compós ◽  
2011 ◽  
Vol 13 (2) ◽  
Author(s):  
Adriana Schryver Kurtz
Keyword(s):  
Steven Spielberg ◽  
Visual History

O presente artigo reflete acerca do estatuto do testemunho do Holocausto judeu no âmbito de uma cultura de consumo, tendo como objeto de análise o projeto original de Steven Spielberg, Survivors of the Shoah, Visual History Fundation, hoje sob a guarda da Universidade da Califórnia do Sul, devidamente rebatizado de USC Shoah Fundation Institute for Visual History and Education. Defenderemos a tese de que mesmo o testemunho e a memória do Terror podem ser estetizados e absorvidos pelo mercado de bens culturais, em um formato saneado e consolador, passível de ser consumido por um público potencialmente massivo. Em que pesem as boas intenções – se é que existem –, Steven Spielberg configura-se como uma discutível “autoridade” – midiática – acerca do Holocausto, conformando o imaginário ocidental sobre a memória do genocídio com sua Fundação e o sucesso anterior do filme A lista de Schindler (1993).Palavras-Chave Testemunho. Cultura de Consumo. Holocausto. Survivors of the Shoah.. Steven Spielberg.

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