Seminar With Claude Lanzmann 11 April 1990

Lanzmann, Claude; Larson, Ruth; Rodowick, D. N.

doi:10.2307/2930247

Cited by 24 publications

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“…Lanzmann claims that Shoah is neither a documentary nor "representational at all" but rather a fiction of the real. "Seminar with Claude Lanzmann, April 11, 1990," Yale French Studies, no. 79,1991.…”

Section: Discussionmentioning

confidence: 99%

A Review of: “Art, Culture, and Media Under the Third Reich / The Unmaking of Fascist Aesthetics”

Spackman

2006

Political Communication

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This study is a product of multiple interactions-between me, the films and the critical thinking that have inspired this work, and the great number of friends and colleagues who have generously offered their time, encouragement, and criticism.First, I want to acknowledge my deep respect for the intellectual rigor and aesthetic acumen of Pier Paolo Pasolini, Liliana Cavani, and Lina Wertmtiller. I also wish to profess my enduring appreciation for my friends and mentors whose guidance and criticism were invaluable. Thanks to Lucia Re, Sande Cohen, Mario Biagioli, Sam Weber, and Margie Waller for engaging my thinking thoroughly, commenting on the various versions of the manuscript, and providing me with a model of scholarly excellence. Special thanks to Randy Rutsky, Ruth Ben-Ghiat, Teshome Gabriel, Peter Wollen, and Geoffrey Nowell-Smith for reading the book in manuscript and providing stimulating remarks. I'm very grateful to the readers' reports from the University of Minnesota Press for their attentive and extremely helpful commentaries. I also want to thank Beatrice Lewin-Dumin, whose careful reading greatly helped me to revise the manuscript. Thanks to Doug Armato for his astute suggestions and for seeing this project through to the end.

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Section: Discussionmentioning

confidence: 99%

A Review of: “Art, Culture, and Media Under the Third Reich / The Unmaking of Fascist Aesthetics”

Spackman

2006

Political Communication

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“…. ] all the questions of content were immediately questions of technique and questions of form" (Lanzmann et al 1991b). A statement he tapers in the following condensed ethical politic of Holocaust approaches: "It is enough to formulate the question in simplistic terms-Why have the Jews been killed?-for the question to reveal right away its obscenity.…”

Section: Displaced Indexicality and The Non-realism Of The 'Transmiss...mentioning

confidence: 99%

Bearing Witness in Analog and Digital Witness Films: Ethical Aesthetics in Shoah [1985] and Waltz with Bashir [2008]

Breitsohl¹

2022

Genealogy

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In the ongoing and passionate debates over the digitalization of visual media, many questions about the ontology or materiality of the new digital image have been raised. Analog representation is often thought of in terms of indexicality and sometimes a naive belief in the truthfulness of the photographic image, whereas the digital image is, in a way, no longer an image anymore, but a set of data in flux, superficially coded and easy to manipulate. The following article examines how this shift to digitalization affects the ethical genre per se: the witness film. In a film analytical close reading of Claude Lanzmann’s Shoah and Ari Folman’s Waltz with Bashir, resonances become visible to psychoanalysis, Deleuzian film philosophy and the debates over the materiality of the analog and digital image. Lanzmann draws on a specific kind of indirect indexicality, which is highly interested in the psychic and embodied realities of surviving, witnessing and the passing of time, whereas Folman develops a politics of the powers of the false: truthfulness, accessibility and memorability are abolished in favor of false images, screen-memories and traumatic mis/representation, which are staged noticeably digital and altered, revolving around the impossibility to grasp the ungraspable.

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“…Estos, según supe después, sólo hablaban hebreo o árabe. La consiguiente situación de ininteligibilidad crea una suerte de "ghetto lingüístico" instalado en el centro de aquella peluquería, según comenta el propio Lanzmann, en un seminario de Yale (Lanzmann et al, 1991), cuya publicación me permitió conocer estos bastidores de la producción. Con esta táctica ficcionalizadora, ¿cabe hablar en este caso de un testimonio válido?…”

Section: ¿Se Puede Propiciar La Verdad En Un áMbito Indicial---ficciounclassified

Indicios ficcionales para un testimonio singular: Shoah o la búsqueda de un relato histórico indecible

Andacht

2010

maaravi

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Indicios ficcionales para un testimonio singular: Shoah o la búsqueda de un relato histórico indecible Fictional Indexes for a singular testimony: Shoah and the quest for an unspeakable historical narrative Fernando Andacht * Resumen: En base al análisis semiótico de un episodio del documental Shoah, de Claude Lanzmann, el presente texto se plantea un problema derivado de la acción indicial de los signos. ¿Cuál es el estatuto de un discurso fílmico que, a través de la búsqueda de testimonios de sobrevivientes, intenta realizar una reconstrucción minuciosa del tiempo del horror inimaginable, pero que apela a indicios escenificados, ficcionales? Esto es precisamente lo que ocurre en uno de los momentos más evocados y removedores en las más de nueve horas del documental Shoah. El objetivo de este artigo es reflexionar de modo sistemático sobre la naturaleza semiótica de un género fílmico de vocación histórica pero que difiere notoriamente del dicho discurso histórico tradicional. Palabras claves: Shoah. Semiótica. Cine. Abstract: Based on the semiotic analysis of an episode of the documentary Shoah (Lanzmann, 1985), the present text deals with a problem related to the indexical action of signs in it. What is the nature of a film which attempts to reconstruct meticulously the time of unimaginable horror based on the testimonies of survivors, but which sometimes uses staged, fictional indexes? This is precisely what takes place in one of the most evoked and moving moments in the over nine hour---long documentary Shoah. The aim of this article is to reflect systematically on the semiotic characteristics of a film genre which has a historical calling but which differs overtly from the traditional historical discourse. Keywords: Shoah. Semiotic. Cinema. 1 El problema de lo indicial en un documental basado en testimonios Pocas obras dedicadas a reflexionar y a contribuir a la comprensión de la masacre nazi de los judíos en el siglo 20 han despertado un interés intelectual y emocional no exento de polémica comparable al caso del film de Claude Lanzmann. 1 El hebreo, el yiddish, el alemán, el inglés y el polaco son algunas de las varias barreras a sortear en la demorada contemplación -más de nueve horas (613') -de aquello que difícilmente soporta el encuadre típico del arte audiovisual. único en varios sentidos, este documental contrasta con obras clásicas como Noche y Bruma (RESNAIS, 1955), cuya mirada minuciosa del horror consiste en hacer hablar a los vestigios, a las fotos de despojos materiales, humanos, en síntesis, que nos plantea una arqueología moderna de aquel tiempo de masacre. Shoah se distingue por habitar con fuerza el presente, por recrear con los propios cuerpos que de modo improbable llegaron vivos hasta esa filmación para contar(nos) ese relato, aunque ellos no lo supieran, ni siquiera estén convencidos de querer hacerlo o de poder revisitar con precisión confiable e historiográfica tanto dolor, 2 de apagar un silencio tan opresor como el que rodeaba los campos de exterminio, para dar a ver lo que fue cel...

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Seminar With Claude Lanzmann 11 April 1990

Cited by 24 publications

References 0 publications

A Review of: “Art, Culture, and Media Under the Third Reich / The Unmaking of Fascist Aesthetics”

A Review of: “Art, Culture, and Media Under the Third Reich / The Unmaking of Fascist Aesthetics”

Bearing Witness in Analog and Digital Witness Films: Ethical Aesthetics in Shoah [1985] and Waltz with Bashir [2008]

Indicios ficcionales para un testimonio singular: Shoah o la búsqueda de un relato histórico indecible

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