Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience
In the present academic paper the author analyzes two different points of view on the role played by the image in the representation of one of the most tragic events in contemporary history, that of the Holocaust. According to Claude Lanzmann, French filmmaker and the author of the famous documentar...
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| Format: | Article |
| Language: | Russian |
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Volgograd State University
2015-06-01
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| Series: | Вестник Волгоградского государственного университета. Серия 4. История, регионоведение, международные отношения |
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| Online Access: | http://hfrir.jvolsu.com/index.php/en/component/attachments/download/901 |
| _version_ | 1797694120518483968 |
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| author | Skopin Denis Aleksandrovich |
| author_facet | Skopin Denis Aleksandrovich |
| author_sort | Skopin Denis Aleksandrovich |
| collection | DOAJ |
| description | In the present academic paper the author analyzes two different points of view on the role played by the image in the representation of one of the most tragic events in contemporary history, that of the Holocaust. According to Claude Lanzmann, French filmmaker and the author of the famous documentary “Shoah”, the image is not able to tell us the truth about the Holocaust. The reality of the Holocaust is beyond the power of the image and our imagination is not able to reach the “sublime” experience. Lanzmann’s argumentation is very close to that of J-F. Lyotard in the “Discord”, who believes that all direct representations of the Shoah are doomed to failure. The only way to represent the Holocaust events is to make speak the eyewitnesses, as Lanzmann did in his film. This point of view is criticized by Georges Didi-Huberman in his book “Images in spite of all”. He tells the story of four photographs taken in Auschwitz by prisoners in 1944 and argues that the images can play a very important role in getting the historical truth as they depict the very truth of those tragic moments. As for the imagination, it also takes part in the building of our historical picture. |
| first_indexed | 2024-03-12T02:53:20Z |
| format | Article |
| id | doaj.art-99704124db8d4360970a3795022e8941 |
| institution | Directory Open Access Journal |
| issn | 1998-9938 2312-8704 |
| language | Russian |
| last_indexed | 2024-03-12T02:53:20Z |
| publishDate | 2015-06-01 |
| publisher | Volgograd State University |
| record_format | Article |
| series | Вестник Волгоградского государственного университета. Серия 4. История, регионоведение, международные отношения |
| spelling | doaj.art-99704124db8d4360970a3795022e89412023-09-03T15:26:46ZrusVolgograd State UniversityВестник Волгоградского государственного университета. Серия 4. История, регионоведение, международные отношения1998-99382312-87042015-06-012798810.15688/jvolsu4.2015.2.8Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman ExperienceSkopin Denis Aleksandrovich0Saint Petersburg State UniversityIn the present academic paper the author analyzes two different points of view on the role played by the image in the representation of one of the most tragic events in contemporary history, that of the Holocaust. According to Claude Lanzmann, French filmmaker and the author of the famous documentary “Shoah”, the image is not able to tell us the truth about the Holocaust. The reality of the Holocaust is beyond the power of the image and our imagination is not able to reach the “sublime” experience. Lanzmann’s argumentation is very close to that of J-F. Lyotard in the “Discord”, who believes that all direct representations of the Shoah are doomed to failure. The only way to represent the Holocaust events is to make speak the eyewitnesses, as Lanzmann did in his film. This point of view is criticized by Georges Didi-Huberman in his book “Images in spite of all”. He tells the story of four photographs taken in Auschwitz by prisoners in 1944 and argues that the images can play a very important role in getting the historical truth as they depict the very truth of those tragic moments. As for the imagination, it also takes part in the building of our historical picture.http://hfrir.jvolsu.com/index.php/en/component/attachments/download/901history of the 20th centuryHolocaustwitnessrepresentationphotographymovie |
| spellingShingle | Skopin Denis Aleksandrovich Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience Вестник Волгоградского государственного университета. Серия 4. История, регионоведение, международные отношения history of the 20th century Holocaust witness representation photography movie |
| title | Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience |
| title_full | Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience |
| title_fullStr | Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience |
| title_full_unstemmed | Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience |
| title_short | Claude Lanzmann and Georges Didi-Huberman: Two Theories of Representing the 20th - Century Inhuman Experience |
| title_sort | claude lanzmann and georges didi huberman two theories of representing the 20th century inhuman experience |
| topic | history of the 20th century Holocaust witness representation photography movie |
| url | http://hfrir.jvolsu.com/index.php/en/component/attachments/download/901 |
| work_keys_str_mv | AT skopindenisaleksandrovich claudelanzmannandgeorgesdidihubermantwotheoriesofrepresentingthe20thcenturyinhumanexperience |