Le double jeu du cinéma : filmer Terezin et Westerbork
The duplicity of cinema: filming in Westerbork and TheresienstadtBetween March and September of 1944, two films were made in the transit camps, Westerbork in the Netherlands, and Theresienstadt in Czechoslovakia. Both camps were hubs for deported convoys who were sent to killing centers in Poland. T...
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2011
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | The duplicity of cinema: filming in Westerbork and TheresienstadtBetween March and September of 1944, two films were made in the transit camps, Westerbork in the Netherlands, and Theresienstadt in Czechoslovakia. Both camps were hubs for deported convoys who were sent to killing centers in Poland. These images were sometimes approached, and due to the circumstances of the filming, there was an apparent similarity between scenes devoted to the work and recreation of the detainees and the identity of the directors, Kurt Gerron and Rudolf Breslauer, whom the German Jewish Nazis ordered to direct the movies.The first major difference, however is that the set of Westerbork takes a blind perspective towards the Terezin Film on the deportation to the East, portraying the departure of a convoy bound for Auschwitz. This sign of radical differences in the Nazi sponsored issues can be found both in the scattered traces of the making of these films as well as in the manner in which the movies were filmed. The article therefore proposes to portray the Dutch and Czech footage from a perspective on the genesis of the two films as well as from a comparative analysis of their images. |
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