Abstract
This chapter explicates Silverman’s approach to anamorphosis to consider how Polish field and forest landscapes have been reframed, as the remains of Jewish victims and gravestones are visibilised. The chapter outlines how Derrida, Didi-Huberman, Kristeva and Levinas frame a spectrum of knowing and not-knowing in response to others, spectres and images, and highlights how human remains both mobilise and obstruct meaningful frameworks. Drawing on posthuman approaches to matter’s agency, the chapter delineates a posthumous ecology in which decomposing human remains transform both the environment and cinematic framing. Earth is frequently reconceptualised as an archive, open to archaeological excavation and yielding human remains that might be ‘read’ as forensic evidence. Such processes are conducted under the ‘gaze of the neighbour’, threatening and active networks of looking.
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Notes
- 1.
The gaze is identified in Lacanian discourse with the objet petit a, the ‘missing object that will seemingly satisfy the desire for plenitude’ (Jay 1993, 361). Scott has argued that it is extremely difficult, if not impossible, to extract a consistent theory of the gaze from Lacan’s writing on vision; the gaze ‘resists understanding as defiantly as Holbein’s death’s head resists perception when viewed from the front’ (2008, 3).
- 2.
My italics.
- 3.
Dziuban makes a similar argument about Janicka’s The Odd Place, a collection of photographs taken of skies over concentration and death camps. Dziuban argues that Janicka’s work shifts emphasis from questions of representation and their limits to ‘the problem’ of ‘frames’ (2014a, 38).
- 4.
- 5.
Dobrosielski has argued that Jedwabne is sometimes discussed as a ‘black hole’ into which our critical thinking vanishes (2017, 370).
- 6.
LaCapra specifically mentions Lyotard , Felman , and Lanzmann as amongst those who formulate such a ‘hyperbolic appeal to the sublime and the unrepresentable’ (2001, 93).
- 7.
Levinas’s critique of ontology and being was formulated partly in refutation of Heidegger whose associations with Nazism appalled him.
- 8.
Zylinska draws on Hannah Arendt here. She writes further that the ‘revelation’ of Jedwabne ‘exposes some of the mechanisms involved in the production of the idea of national unity which has to bar, exclude and annihilate any forms of alterity that threaten it’ (2005, 111).
- 9.
- 10.
As Dillon also explains , Derridean deconstruction partakes of a ‘spectral’ logic, insofar as it stresses ‘the non-contemporaneity of the present with itself and the open possibility of the phantasmatic return of the past and arrival of the future’ (2018, 27).
- 11.
Davis notes, however, that Derrida has been criticized for simplifying Lacan (2010, 115).
- 12.
As Dillon points out, Derrida never developed a rigorous theoretical approach to film, and his writing about cinema is ‘subjunctive’, characterized by the statement that if he ‘were to write about film’ he would be most interested in cinema as a ‘mode and system of belief’. Despite this, his writing has inspired a significant body of theoretical work on the cinema (2018, 25).
- 13.
I refer here to Bataille’s text ‘The Language of Flowers’, originally published in 1929 (Bataille 1985, 10–14).
- 14.
Mbembe is writing about human remains displayed at genocide memorial sites in Rwanda .
- 15.
See Kaczmarek for further discussion of the forest in Polish literature and visual culture (2017, 222–225).
- 16.
Gross’s interpretation of the photograph has been contested, with some claiming that it shows Poles sent to clean up the grounds of the former camp. See Krzywiec for a summary of the controversy around the photograph (2013). See Dziuban (2015) for a discussion of Golden Harvest and the practice of plundering former Nazi German concentration camps.
- 17.
- 18.
The album was published in 2012; some of the photographs were presented earlier in a series of exhibitions, also entitled Matzevot for Everyday Use, including in Warsaw in 2010.
- 19.
This has recently been suggested by work on the ‘scrolls of Auschwitz’, documents written by members of the Sonderkommando at Auschwitz-Birkenau and then, as Didi-Huberman writes, buried on the site in the hope that ‘one day the earth itself could bear witness , archeologically, to what had happened’ (2008, 110). Chare and Williams, too, emphasize the materiality of these documents and their ability to act as a ‘mute witness’ (2016, 45). See Chulphongsathorn’s discussion of this (2017, 127–131).
- 20.
See also Chulphongsathorn’s approach to the forest as an archive that records events that have occurred in it, which he reads partly through an analysis of Shoah (2017, 121).
- 21.
Not all approaches to non-human witnessing draw on the sciences. Clark, for example, argues that there has always been something ‘inhuman’ at the heart of key theoretical approaches to witnessing and testimony , including in the writing of Lyotard and Derrida. Lyotard’s argument that something always ‘remains to be phrased’ about the Holocaust situates an unrecovered ‘remainder’ at the centre of testimony which cannot be made ‘an object of knowledge’ (2015, 166–167). Clark’s particular focus is the possibility that animals , ‘paradigmatic victim[s] of being silenced and unheard’, can witness (2015, 167). If witnessing ‘appeals to forms of attestation that are irreducible to the psychic, intentional, conscious or experiential’ then ‘witnessing is irreducible to the human’ (2015, 168, 169).
- 22.
See also Felman (1992), who is unlikely to have been convinced by Polish discourses of the traumatised or morally righteous witness . Discussing the representations of Polish villagers in Shoah , she characterizes them as people who ‘see’ but do ‘not quite look, they avoid looking directly, and thus they overlook at once their responsibility and their complicity as witnesses’ (1992, 208).
- 23.
Hudson also notes the connections between archaeology and haunting , pointing to Freud’s analysis of the spectres at Pompeii in Wilhelm Jensen’s Gradiva. Freud’s gloss on this text, Hudson notes, gave rise to the ‘archaeological metaphors of psychoanalysis’ (2017, 63).
- 24.
As Martin-Jones has argued, the way in which WWII has been isolated by Deleuze as the ‘point around which cinema is transformed’ is problematic in the wider context of world cinema; different ‘moments of crisis’ take place at different historical junctures (2011, 12). Birthplace , which I analyse in part through a Deleuzian lens, emerged soon after a particularly pivotal moment in Poland: the fall of state socialism, and the easing of a number of restrictions on representation.
- 25.
Prominent in this field has been the work of Caroline Sturdy Colls, who has led excavations at a number of well-known sites like Treblinka , but has also worked at unmarked ‘non-sites’ deploying non-invasive forensic methods. Such methods do not disturb the resting place of the dead and thus adhere to the prohibition against exhumation in Jewish religious law. See Sturdy Colls (2015). The prohibition has been variously interpreted and applied . Domańska (2019, 6) states that ‘there is no single Jewish stance on exhumations of Nazi-era mass graves ’. Some religious leaders consider it obligatory to exhume and reinter someone who has been buried in a mass grave or in ‘non-consecrated or gentile cemeteries’ (Domańska 2019, 6, citing Rabbi Joseph A. Polak).
- 26.
These turns have raised concerns that material evidence , popularly understood as providing scientific proof and unambiguous accounts of the past, can be easily instrumentalised. The investigations into Jedwabne provide an example of this. The Institute of National Remembrance opened the top layer of two of the graves so as to examine the human remains on site, but objections from Jewish religious groups meant that no further excavations were performed, and the remains were not analysed in labs (Dziuban 2017, 24). As Dziuban explains, right-wing activists have exploited this situation to argue that there is no evidence that Poles were responsible for the crimes. For Dziuban , this situation exposes the ways in which an ‘uncritical reliance on the truth regime of forensics’ can be manipulated to support ‘revisionist historical claims’ (2017, 25).
- 27.
There are, of course, exceptions to this, including, in the Polish context, the work of Niziołek, who has examined post-war Holocaust theatre as a space that cultivated identifications with the Polish ‘bystander’ (2019, 252).
- 28.
As Niziołek reminds us, Hilberg’s original triad of (German) perpetrators , (local) witnesses or bystanders and (Jewish) victims is related to the phenomenology of the spectacle , where Jewish victims were always exposed or felt themselves to be exposed. Perpetrators wielded the power of looking while camouflaging their crimes (2019, 22).
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Mroz, M. (2020). Earth and Bone: Framing Posthumous Materialities. In: Framing the Holocaust in Polish Aftermath Cinema. Palgrave Film Studies and Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-46166-7_2
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