Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros

Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros

Receiving Fateless by Lajos Koltai : The scandal and the enigmaThe film directed by Lajos Koltai in 2005, was based on the novel Sorstalansdg (Fateless) (1975) by Imre Kertesz, and is far from having achieved the same success as this one : having been controversial when it was released, it was qui...

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Autor principal: Roder, Iannis
Format: Article ou chapitre numérique
Idioma:Français
Publicat: 2011
Accés en línia:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RHSHO_195_0621b
record_format cairn
spelling cairn-RHSHO_195_0621bRHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-621b?lang=fr https://doi.org/10.3917/rhsho.195.0621b Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros Roder, Iannis2011 fre Revue d’Histoire de la Shoah | 195 | 2 | 2011-12-12 | p. 621b-623b | 2111-885X RHSHO_19584 Receiving Fateless by Lajos Koltai : The scandal and the enigmaThe film directed by Lajos Koltai in 2005, was based on the novel Sorstalansdg (Fateless) (1975) by Imre Kertesz, and is far from having achieved the same success as this one : having been controversial when it was released, it was quickly forgotten. However, this reception is unusual by virtue of its contrast: extremely severe in Germany, where the film was described as “kitsch”, criticism was often complimentary in the UK and in the US, where the film is considered to be strong, innovative, or even a turning point in the cinematic representation of the Nazi camps. In France, the comments range from exasperated abhorrence to gushing praise, to more nuanced analysis. These have enabled Kertesz, who wrote the script and worked closely with the director, to clarify his intentions, particularly in the contentious issue of the “beauty” of images that represent the camp experience, building up to some exceptionally “happy” moments; moments that the novel expressed by a verbal irony in which the “beautiful” image tried to give an equivalent effect. These explanations merit consideration, given self-acceptance: beyond the cultural differences related to gender more or less on the “Holocaust movie”, they are seizing what misunderstandings are made for representing and prohibiting aestheticism of the experience of the camps. The authorization that Kertesz is given to break this double ban in the name of testimony must be heard beyond the judgments in the clout that the film has raised. It is a fresh take on the relationship between the witness, art and kitsch.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description Receiving Fateless by Lajos Koltai : The scandal and the enigmaThe film directed by Lajos Koltai in 2005, was based on the novel Sorstalansdg (Fateless) (1975) by Imre Kertesz, and is far from having achieved the same success as this one : having been controversial when it was released, it was quickly forgotten. However, this reception is unusual by virtue of its contrast: extremely severe in Germany, where the film was described as “kitsch”, criticism was often complimentary in the UK and in the US, where the film is considered to be strong, innovative, or even a turning point in the cinematic representation of the Nazi camps. In France, the comments range from exasperated abhorrence to gushing praise, to more nuanced analysis. These have enabled Kertesz, who wrote the script and worked closely with the director, to clarify his intentions, particularly in the contentious issue of the “beauty” of images that represent the camp experience, building up to some exceptionally “happy” moments; moments that the novel expressed by a verbal irony in which the “beautiful” image tried to give an equivalent effect. These explanations merit consideration, given self-acceptance: beyond the cultural differences related to gender more or less on the “Holocaust movie”, they are seizing what misunderstandings are made for representing and prohibiting aestheticism of the experience of the camps. The authorization that Kertesz is given to break this double ban in the name of testimony must be heard beyond the judgments in the clout that the film has raised. It is a fresh take on the relationship between the witness, art and kitsch.
author Roder, Iannis
spellingShingle Roder, Iannis
Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
author_facet Roder, Iannis
author_sort Roder, Iannis
title Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
title_short Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
title_full Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
title_fullStr Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
title_full_unstemmed Anna Bikont, Le Crime et le Silence. Jedwabne 1941, la mémoire d’un pogrom dans l a Pologne d’aujourd’hui, Paris, Denoël, 2011, 528 pages, 28 euros
title_sort anna bikont, le crime et le silence. jedwabne 1941, la mémoire d’un pogrom dans l a pologne d’aujourd’hui, paris, denoël, 2011, 528 pages, 28 euros
publishDate 2011
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https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.195.0621b
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