Advertisement

Epilogue

  • Victoria Grace WaldenEmail author
Chapter

Abstract

Finally, the book’s brief epilogue examines how some of the philosophical observations made in this book are informing contemporary practices in Holocaust commemoration. I conclude by considering how the ways in which the intermedial works discussed in this book position us in an inbetween space which might be more productive than offering a more simple empathetic relationship with victims. I argue that a liminal position helps the spectator to recognise both their material semblance with Holocaust victims as human beings whilst simultaneously acknowledging their radical experiential differences. Following claims made in earlier chapters, I consider this a particularly productive position that encourages us not only to engage with our imagination, but also to reflect more heavily on how we might avoid becoming bystanders or perpetrators in the future, rather than provoke us to reflect on what it might be like to have violence enacted upon us. After this brief summary of the book’s ideas, I focus on two installations and an augmented reality app recently developed at the Bergen-Belsen Memorial (Gedenkstätte Bergen-Belsen) in Germany to consider how recent developments in screen memory might be moving towards an emphasis of the space inbetween media and bodies, and thus offering more ambiguous spaces in which spectator, visitor or user is invited to critically, imaginatively and bodily contribute to Holocaust memory—to think and feel for themselves, rather than be interpellated into a particular way of remembering this past.

References

  1. Bringas, S., & Yadin, O. (dir.). (1998). Silence. Halo Productions Ltd.Google Scholar
  2. Dort: Echoes für Erinnerung [There: Echoes for Memory]. 2012–. Bergen-Belsen Memorial.Google Scholar
  3. Forgács, P. (dir.). (1996). Free Fall. For-Creation Bt./ MTFA/ MMKA/ The Soro Foundation/ Private Photo and Film Archive Budapest.Google Scholar
  4. Gregor, L. (dir.). (2012). Maleńka. Self-produced.Google Scholar
  5. Hersonski, Y. (dir.). (2010). A Film Unfinished (shtikat haarchion). Oscilloscope Laboratories.Google Scholar
  6. Hier: Raum für Erinnerung [Here: Room for Memory]. (2012). Bergen-Belsen Memorial.Google Scholar
  7. Hirsch, J. (2004). After Image: Film, Trauma and the Holocaust. Philadelphia: Temple University Press.Google Scholar
  8. Oshpitzin. (2014). Mobile and Tablet Application, Auschwitz Jewish Center, Oświeçim.Google Scholar
  9. The Room of Names. (2005–). Audio-Visual Installation, the Memorial to the Murdered Jews of Europe, Berlin.Google Scholar
  10. Saxton, L. (2008). Haunted Images: Film, Ethics, Testimony and the Holocaust. London: Wallflower Press.Google Scholar
  11. Silverman, K. (2011). Waiting, Hoping, Among the Ruins of All the Rest. In B. Nichols & M. Renov (Eds.), Cinema’s Alchemist: The Films of Péter Forgács (pp. 96–118). Minneapolis and London: University of Minnesota Press.CrossRefGoogle Scholar
  12. Sobchack, V. (2004a). Inscribing Ethical Space: Ten Propositions on Death, Representation, and Documentary. In V. Sobchack (Ed.), Carnal Thoughts: Embodiment and Moving Image Culture (pp. 226–258). Berkeley: University of California Press.Google Scholar
  13. Sobchack, V. (2004b). The Charge of the Real: Embodied Knowledge and Cinematic Consciousness. In V. Sobchack (Ed.), Carnal Thoughts: Embodiment and Moving Image Culture (pp. 258–285). Berkeley: University of California Press.Google Scholar
  14. Van Alphen, E. (2002). Playing the Holocaust. In N. L. Kleeblatt (Ed.), Mirroring Evil: Nazi Imagery/Recent Art (pp. 65–79). New York, New Brunswick, NJ and London: The Jewish Museum.Google Scholar
  15. Weissman, G. (2004). Fantasies of Witnessing: Post-war Efforts to Experience the Holocaust. Ithaca and London: Cornell University Press.Google Scholar
  16. Wilson, E. (2005). Material Remains: Night and Fog. October, 112, 89–100.Google Scholar
  17. Wilson, E. (2014). Resnais and the Dead. In G. Pollock & M. Silverman (Eds.), Concentrationary Cinema: Aesthetics of Political Resistance in Alain Resnais’s “Night and Fog” (pp. 126–139). New York and Oxford: Berghahn.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.University of SussexBrightonUK

Personalised recommendations