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Camera Obscura (2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
...Maureen Turim Chantal Akerman’s 2004 art installation Marcher à côté de ses lacets dans un frigidaire vide ( Walking Next to One’s Shoelaces in an Empty Fridge ) explores Akerman’s multigenerational family history as Jewish survivors of the Shoah. The installation is spatially configured so...
Camera Obscura (2022) 37 (2 (110)): 91–117.
Published: 01 September 2022
...Pingfan Zhang Abstract Recent decades have witnessed a booming film industry portraying the Nanjing Massacre, both within and outside Mainland China, which is closely related to contemporary Chinese political, socioeconomic, and cultural transformations. This article examines the USC Shoah...
Camera Obscura (2021) 36 (1 (106)): 87–107.
Published: 01 May 2021
... to installation is achieved with the sudden and stunning appearance of the most recognized symbol of the Shoah in France: the yellow felt star inscribed with the word Juif . Offered in a close-up while a pair of tailor's scissors lies next to it and patient hands sew stitches, this symbol of the process...
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Camera Obscura (2004) 19 (3 (57)): 157–185.
Published: 01 December 2004
... far. Examples would be Atom Egoyan’s Ararat (Canada/France, 2002), Errol Morris’s The Thin Blue Line (US, 1988), Alain Resnais’s Hiroshima, mon amour (Hiroshima, My Love; France/Japan, 1959) and Nuit et brouillard (Night and Fog; France, 1955), and, of course, Claude Lanzmann’s Shoah (France, 1985...
Camera Obscura (2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... Weeping as Performative • 127 Germany’s past, invalidates any German as someone making an ethical statement. Eyal simply refuses to listen. He thus uses the Shoah to justify Israel’s victimization of the Palestinians. Here, too, however, the clear separation between victim...
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... mythification de la Shoah,’ ” Télérama , 8 December 2020, www.telerama.fr/festival-de-cannes/2015/laszlo-nemes-et-clara-royer-le-fils-de-saul-shoah,126690.php . 33. The authors refer to the interview with Mathilde Blottière. See Nicholas Chare and Dominic Williams, “Questions of Filiation: From...
Camera Obscura (2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... of Jews in World War II. In fact, even the names of these monuments of loss are interchanged. Most arrest- ingly in recent nomenclature, the “event” is referred to as the Holocaust, the Shoah, and, by some Yiddish speakers, as Der Khurbn (The Destruction). The latter two names contain within them...
Camera Obscura (2022) 37 (2 (110)): 119–147.
Published: 01 September 2022
... with the living dead, that is, within a community whose identity is premised on the loss of life through the Shoah. She eventually chooses to stay in Berlin also because she realizes that there is no escape from the past. Berlin is not just a city; it's a setting that evokes questions. Unorthodox 's closing...
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
... and, on the other, Claude Lanzmann s paradigmatic though inevitably partial and vague representation of Nazi perpetrators in Shoah (France/UK, 1985). Cambodian cinema s new set of conventions is characterized promi- nently by a direct, nonarchival, face- to- face confrontation of the first- generation survivor...
Camera Obscura (2001) 16 (1 (46)): 47–75.
Published: 01 May 2001
... it a “connoisseur section.” This is where Shoah was coproduced and I was able to do a lot there as well. Attendance at German ﬁlms in Germany is up. It has doubled in the last four years, increasing dramatically from its lowest historic point. A new generation...
Camera Obscura (2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
... that loss” (132). Indeed, Heimat seems to correlate in numerous ways to the generic category of melodrama. In its postwar, post-Shoah mani- festations, Heimat is always in danger of falling into the regressive logic of melodrama and a notion of history that, like the Heimat films, threatens...
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
..., Hiroshima Traces: Time, Space, and the Dialectics of Memory (Berkeley: University of California Press, 1999), 85. 21. Shoshanna Felman, “The Return of the Voice: Claude Lanzmann’s Shoah,” in Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History, ed. Felman and Dori...
Camera Obscura (2007) 22 (3 (66)): 129–167.
Published: 01 December 2007
... millions if the flm would have had it any other way. Yet at this point in history, with very few prewar European Jews left, it is also critical to remember and to pay homage to the prodigious legacy of art and culture created before the Shoah and actively to construct a bridge to a time and place...
Camera Obscura (2010) 25 (1 (73)): 29–67.
Published: 01 May 2010
... to their “imagination.” Gourevitch and Morris, Standard Operating Procedure, 53 – 54. 62 • Camera Obscura 17. Claude Lanzmann’s example in Shoah (US, 1985) has tended to be the most positive example of this role as participant observer. Michael Moore in his many documentaries has been...