Témoignage d’Eda Lichtman, rescapée de Sobibor

Témoignage d’Eda Lichtman, rescapée de Sobibor

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: Kowalczyk, Patrycja
Format: Article ou chapitre numérique
Idioma:Français
Publicat: 2012
Accés en línia:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RHSHO_196_0097
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spelling cairn-RHSHO_196_0097RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2012-1-page-97?lang=fr https://doi.org/10.3917/rhsho.196.0097 Témoignage d’Eda Lichtman, rescapée de Sobibor Kowalczyk, Patrycja2012 fre Revue d’Histoire de la Shoah | 196 | 1 | 2012-02-07 | p. 97-111 | 2111-885X RHSHO_19691 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 Kowalczyk, Patrycja
spellingShingle Kowalczyk, Patrycja
Témoignage d’Eda Lichtman, rescapée de Sobibor
author_facet Kowalczyk, Patrycja
author_sort Kowalczyk, Patrycja
title Témoignage d’Eda Lichtman, rescapée de Sobibor
title_short Témoignage d’Eda Lichtman, rescapée de Sobibor
title_full Témoignage d’Eda Lichtman, rescapée de Sobibor
title_fullStr Témoignage d’Eda Lichtman, rescapée de Sobibor
title_full_unstemmed Témoignage d’Eda Lichtman, rescapée de Sobibor
title_sort témoignage d’eda lichtman, rescapée de sobibor
publishDate 2012
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url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-d-histoire-de-la-shoah-2012-1-page-97?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.196.0097
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