Visualizing the Holocaust: Documents, Aesthetics, Memory

By Apel, Dora | Shofar, Spring 2010 | Go to article overview
Save to active project

Visualizing the Holocaust: Documents, Aesthetics, Memory


Apel, Dora, Shofar


Visualizing the Holocaust: Documents, Aesthetics, Memory, edited by David Bathrick, Brad Prager, and Michael D. Richardson. Rochester, NY: Camden House, 2008. 336 pp. $75.00.

Visualizing the Holocaust is the first volume in the series Screen Cultures: German Film and the Visual, edited by Gerd Gemünden and Johannes von Moltke, and consists of a series of twelve essays, all but one of which began as projects for a DAAD Summer Seminar for College Teachers at Cornell University. In his introduction, David Bathrick distinguishes the nature of this volume from anthologies such as Visual Culture and the Holocaust (2001), edited by Barbie Zelizer, by noting that the latter explores the myriad and diverse settings in which the Holocaust has come to be visually represented, while Visualizing the Holocaust focuses on "core philosophical and methodological issues underlying the field as a whole" (p. 16). It is also different from anthologies that are sustained explorations of at tistic representation such as Absence/Presence: Critical Essays on the Artistic Memory of the Holocaust (2005) edited by Stephen Feinstein, Impossible Images: Contemporary Art after the Holocaust (2003), edited by Shelley Hornstein, Laura Levitt, Laurence J. Silberstein, and Image and Remembrance: Representation and the Holocaust (2003) edited by Shelly Hornstein and Florence Jacobowitz. Visualizing the Holocaust focuses primarily on Holocaust film and photography, with some attention to architecture and art, and should be read in the context of works such as Terri Ginsburg's Holocaust Film: The Politics and Aesthetics of Ideology (2007).

Visualizing the Holocaust maintains an overlapping set of references, particularly the work of Marianne Hirsch and her notion of postmemory, and is framed by controversies surrounding films such as Shoah and Shindler's List. But it goes beyond an analysis of narrative to examine more complex relationships between image, affect, and ideology. Like many contemporary visual artists today who grapple with the continuing legacy of the Holocaust, the new generation of authors dealing with Holocaust representation theoretically attempts to challenge or complicate taboos sutrounding Holocaust representation and claims of unknowability and unrepresentability. Visualizing the Holocaust thus represents an important contribution to the literature on Holocaust representation.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited article

Visualizing the Holocaust: Documents, Aesthetics, Memory
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?