Search Results for lanzmann

...Manuel Köppen Claude Lanzmann's Sobibor (2001) and Romuald Karmakar's Land of Annihilation (2004) are contrasting cinematic documentaries that return the viewer to German concentration camps in Poland. While Lanzmann insists on the pathos of the primary witness, whose words, like the places...

.... As is widely acknowledged, Lanzmann makes exceptions to his own policies. Preexisting photos of Dachau are used in Shoah, and in The Last of the Unjust (Le dernier des injustes, 2013) Lanzmann includes a long sequence from the 1944 Theresienstadt propaganda film. On the use and exclusion of perpetrator...

... magazine, Claude Lanzmann paid the novel a grudging compli- ment as far as historical accuracy was concerned but then condemned it for its lack of verisimilitude, its sensationalist “fascination with horror,” and other literary sins.4 Many others weighed in as well, with equally divergent opinions...

... does add, however, that Littell does give young readers a greater impression of the horror of the war and the annihilation of the Jews than “entire libraries and Guido Knoppized television” ever will.8 The commentary of Claude Lanzmann, editor of Le temps moderne and the nephew of Jewish...

... the new trend by making an unrepentant Nazi perpetrator a first-person narrator with whom the reader is supposed to sympathize and identify. The book sparked considerable controversy. 32 Critics of the novel were numerous. Claude Lanzmann called the entire book “an elaboration of Littell’s...

... on Claude Lanzmann’s Shoah (1985) are both appreciative and critical. The film’s achievement, he writes, is its evocation of the Holocaust as a particular experienced reality; its limitation is that a more general historical understanding is sacrificed to that end. Lanzmann excludes everything about its...

... frequency. In this respect Claude Lanzmann’s Shoah (1985) was paradigmatic. With his camera he doc- umented the traumatic present of the Holocaust, capturing witnesses’ physical reactions at the moment of recollecting and reexperiencing. Lanzmann did not rely on existing footage, but his methodology...

... abjection and pure silence. Oyneg Shabes texts likewise strikingly reveal the structuring exclusions of Claude Lanzmann’s magisterial filmShoah , to take one further paradigmatic Holocaust discourse. One exam- ple must suffice. The sole Jewish historical document cited in the famously documento...

... of nachschrift what Gertrud Koch once said about Claude Lanzmann’s Shoah: “The fact that it is also a work of art is acknowledged only in passing and almost with embarrassment.”10 Although his critics have not focused on nachschrift’s aesthetic qualities or on the question of aestheticization...

.... It becomes a landscape of torment.”4 The fi lm begins with a twelve-minute sequence of images from the concentration camp. Or, to be more accurate, it begins with a blackout against which we hear the sound of a train, a prisoner transport heading for the camp. Claude Lanzmann’s Shoah (1985) made...

... as a modern destination for international travelers and not the abandoned, empty landscapes previously captured by Alain Resnais in Night and Fog (1955) or by Claude Lanzmann in Shoah (1985). Passing by the entrance to the KZ and the tourist parking lot—this is a space where one is meant to visit...