Le Rapport Katzmann

Le Rapport Katzmann

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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Auteur principal: Coutin, Willy
Format: Article ou chapitre numérique
Langue:Français
Publié: 2012
Accès en ligne:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RHSHO_196_0397
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spelling cairn-RHSHO_196_0397RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2012-1-page-397?lang=fr https://doi.org/10.3917/rhsho.196.0397 Le Rapport Katzmann Coutin, Willy2012 fre Revue d’Histoire de la Shoah | 196 | 1 | 2012-02-07 | p. 397-420 | 2111-885X RHSHO_196100 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 Coutin, Willy
spellingShingle Coutin, Willy
Le Rapport Katzmann
author_facet Coutin, Willy
author_sort Coutin, Willy
title Le Rapport Katzmann
title_short Le Rapport Katzmann
title_full Le Rapport Katzmann
title_fullStr Le Rapport Katzmann
title_full_unstemmed Le Rapport Katzmann
title_sort le rapport katzmann
publishDate 2012
container_title
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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-397?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.196.0397
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