Regarding the Recording: &lt;em&gt;The Viewer of Video Testimony, the Complexity of Copresence and the Possibility of Tertiary Witnessing&lt;/em&gt;

Wake, Caroline

doi:10.2979/histmemo.25.1.111

Cited by 27 publications

(9 citation statements)

References 7 publications

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“…Furthermore, participants' emotional stories are often elicited and recorded to be disseminated broadly for non‐immediate audiences via documentaries, radio, television, archives, and other channels. Indeed, recordings of emotional testimonials are often included in Holocaust education for the purpose of affectively stirring broad audiences (Ebbrecht‐Hartmann, 2016; Felman & Laub, 1992; Hartman, 1995; Obens, 2016; Wake, 2013; Weissman, 2004; Wieviorka, 2006). Even when participants take part in recorded one‐on‐one interviews, they do so with the understanding that their storytellings will ultimately be de‐ and recontextualized by and for differently positioned audiences, beyond the interview event itself (Bauman & Briggs, 1990; Briggs, 2007; Koven, 2014).…”

Section: Communicating and Circulating Affectmentioning

confidence: 99%

Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

Koven

2023

J Linguistic Anthropol

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This article analyzes the role of emotion in narrations about the past, understandable as familial, intergenerational, or national. I examine how participants report and display affect in narratives about Aristides de Sousa Mendes, the Portuguese consul of Bordeaux who issued thousands of lifesaving visas in June of 1940. Three sets of participants (descendants of visa recipients, Sousa Mendes' descendants, and Portuguese institutional representatives) each explicitly report and implicitly display how the Sousa Mendes story moves them emotionally. I then discuss how the emotion in these narratives may be circulated and taken up by broader audiences. Building on Irvine's discussion of the heteroglossia of affective expression (1990), participants may attribute emotion to others, signal emotion as occurring in the present or in a prior space–time, or merge emotional past and present in various types of emotional “reliving.” By treating emotion as eventlike, it can thus be considered chronotopic. I analyze the relationships between (re)presentation of emotion across multiple narrated and narrating chronotopes. This approach reveals how differently positioned participants' cross‐chronotope alignments yield particular types of affective displays and experiences that others can then take up and recontextualize.

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Section: Communicating and Circulating Affectmentioning

confidence: 99%

Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

Koven

2023

J Linguistic Anthropol

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“…This leads us then to the second group around which there is much debate as to their status as 'witnesses': 'secondary' or even 'tertiary' witnesses (Wake 2013). Secondary witnesses have been conceptualised in multiple ways.…”

Section: Secondary Witnessesmentioning

confidence: 99%

Testimony through culture: towards a theoretical framework

Jones

2019

Rethinking History

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Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.

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“…Furthermore, they not only record the survivor as witness, they also position the viewer as witness to their testimony. In her examination of the role of the witness in Holocaust video testimonies, Caroline Wake (2013) differentiates between 'primary witnessing' and 'secondary witnessing', explaining that primary witnessing is 'being spatiotemporally copresent at the scene of trauma', whilst secondary witnessing is 'being spatiotemporally copresent at the scene of testimony'namely, someone who has heard the testimony of the primary witness and 'responds to the primary witness and, just as importantly, to the process of witnessing ' (113, 116). She proffers that the viewers of such recorded testimonies becomes 'tertiary witnesses' who, although they are separated from the witnesses by time and space, still feel an 'emotional copresence' with the witnesses (113).…”

Section: Introductionmentioning

confidence: 99%

Creating the ‘virtual’ witness: the limits of empathy

Schultz

2021

Museum Management and Curatorship

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This article analyses two interactive exhibits -The National Holocaust Centre and Museum's 'The Forever Project' and the Shoah Foundation's 'New Dimensions in Technology'which have created digital versions of Holocaust survivors who will respond to visitors' questions, with the intention of creating meaningful 'interactions' with these survivors long after the 'biological' witnesses have passed away. It argues that the formal qualities of these 'virtual witnesses' have cognitive and emotional associations that inhibit viewer empathy: first, since the digital avatar is a form normally associated with games and play, participants may consciously or subconsciously 'test' the limits of this interactive technology; second, people use vocal commands to interact with the avatar, much like 'virtual assistants' found on personal digital devices; and third, their 'uncanny valley' appearance is affectively disturbing. It concludes by querying as to the use of these and other technologies for memorial exhibits.

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Regarding the Recording: <em>The Viewer of Video Testimony, the Complexity of Copresence and the Possibility of Tertiary Witnessing</em>

Cited by 27 publications

References 7 publications

Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

Testimony through culture: towards a theoretical framework

Creating the ‘virtual’ witness: the limits of empathy

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