Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel
A true work of recollection: Voyages by Emmanuel FinkielHow is it possible to represent the Holocaust today? This paper focuses on this problem and has two purposes: first to show the dangers of stereotyping and secondly to underline the creative power of new forms of representation. Here are two c...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
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2011
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RHSHO_195_0573RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-573?lang=fr https://doi.org/10.3917/rhsho.195.0573 Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel Robin, Régine2011 fre Revue d’Histoire de la Shoah | 195 | 2 | 2011-12-12 | p. 573-585 | 2111-885X RHSHO_19581 A true work of recollection: Voyages by Emmanuel FinkielHow is it possible to represent the Holocaust today? This paper focuses on this problem and has two purposes: first to show the dangers of stereotyping and secondly to underline the creative power of new forms of representation. Here are two counter films: The Last Days by James Moll and Voyages by Emmanuel Finkiel. The first deals with what Gerard Wajcman calls an album of family photography, which are testimonies that represent a happy ending for a happy family that survived the Holocaust. In the second film, even if life followed its course, the daily life of a survivor is still affected by the details, which is a sign that nothing should be taken for granted and that the past cannot be eradicated. Voyages specifically avoids the trap of saturation, mummification, and simplification of memory. If official commemorations are an important part of the social fabric, then they can at times become an obstacle to the real memory.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
A true work of recollection: Voyages by Emmanuel FinkielHow is it possible to represent the Holocaust today? This paper focuses on this problem and has two purposes: first to show the dangers of stereotyping and secondly to underline the creative power of new forms of representation. Here are two counter films: The Last Days by James Moll and Voyages by Emmanuel Finkiel. The first deals with what Gerard Wajcman calls an album of family photography, which are testimonies that represent a happy ending for a happy family that survived the Holocaust. In the second film, even if life followed its course, the daily life of a survivor is still affected by the details, which is a sign that nothing should be taken for granted and that the past cannot be eradicated. Voyages specifically avoids the trap of saturation, mummification, and simplification of memory. If official commemorations are an important part of the social fabric, then they can at times become an obstacle to the real memory. |
| author |
Robin, Régine |
| spellingShingle |
Robin, Régine Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| author_facet |
Robin, Régine |
| author_sort |
Robin, Régine |
| title |
Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| title_short |
Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| title_full |
Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| title_fullStr |
Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| title_full_unstemmed |
Un travail de vraie remémoration : Voyages d’Emmanuel Finkiel |
| title_sort |
un travail de vraie remémoration : voyages d’emmanuel finkiel |
| publishDate |
2011 |
| container_title |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-573?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.195.0573 |
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