Memory, Cinema and Polish Deathscapes: Re-membering the Holocaust

随着目前欧洲各地极右翼选举死灰复燃的政治气候以及目睹大屠杀的一代人的去世，过去对过去教训可能褪色的担忧再次成为对大屠杀作为记忆长期存在的担忧。这个拟议的博士项目询问如何电影的预防可能会发挥作用，以维持那些谁没有经历过大屠杀的记忆，形成记忆框架，与公共文化产生共鸣。因此，这是一个潜在的电影和可能的后电影媒体的发展，如虚拟现实，当代记忆和调解的性质，纪念和实用的教学方法的纪念作用的检查。该项目旨在通过地理透镜来研究这些发展，质疑电影如何调解整个欧洲的大屠杀记忆景观。博士学位的理论基础将主要建立在两个工作机构上。首先，最近关于后记忆和假体记忆的研究表明，个体可以通过与博物馆、照片或电影的体验性接触中的情感转移，将他们没有经历过的过去事件作为个人记忆（兰茨贝格，2004;赫希，2012）。第二部分的研究以历史学家皮埃尔·诺拉（Pierre Nora）对法国记忆的经典研究（1989年）为基础，他认为，刻意奉献的记忆场所取代了自然记忆在景观中的缺失;也就是说，记忆不是遇到的，而是必须创造的。在与萦绕（Till，2005; Gordon，2008），影响（Brennan，2004; Navaro-Yashin，2012）和电影（Rauch，2017; Past，2019）的工作对话中，这个项目询问记忆的景观是否以及如何通过移动的和沉浸式记忆场所（如电影和纪录片制作）进行调解。在方法论上，本项目提出了一个迭代的民族志方法。初步的注意力将支付给选定的电影，如“记忆文本”（库恩，2002年：299），询问电影如何编码的大屠杀作为记忆和观众如何遇到这种框架。档案分析将提供反思性和历史性的关注之间的关系，电影放映和他们的接受。大部分的研究将强调在欧洲选定的记忆景观的干预，注意游客和从业者的参与与特定的电影作为纪念大屠杀的一种手段。这将通过（自助）导游步行图尔斯和博物馆人种志和所选景观内的其他相关设施进行。

With the current political climate of resurgent far-right elections across Europe and the passing of the generation that witnessed the Holocaust, old fears that lessons of the past might fade have been rearticulated as concern about the longevity of the Holocaust as memory. This proposed PhD project asks how cinematic depictions might function to sustain the memory of the Holocaust for those who did not live through it, forming mnemonic frameworks that resonate with public culture. It is thus an examination of the potential memorial role of cinema and possible post-cinematic media developments like virtual reality, the nature of contemporary memory and mediation, and practical pedagogical approaches to commemoration. The project seeks to examine these developments through a geographical lens, questioning how cinema mediates landscapes of Holocaust memory across Europe.The theoretical grounding of the PhD will build primarily on two bodies of work. First, recent work on post and prosthetic memory which suggests that individuals can take on past events through which they did not live as personal memory through affective transference in experiential encounters with museums, photographs, or cinema (Landsberg, 2004; Hirsch, 2012). The second body of work finds its base in the historian Pierre Nora's classical study of French memory (1989), which argues that deliberately consecrated sites of memory substitute for the absence of spontaneous memory in landscape; that is, memory is not encountered but has to be made. In dialogue with work on haunting (Till, 2005; Gordon 2008), affect (Brennan, 2004; Navaro-Yashin, 2012) and cinema (Rauch, 2017; Past, 2019), this project asks whether, and how, landscapes of memory might be mediated by mobile and immersive sites of memory such as cinema and documentary film making. Methodologically, this project proposes an iterative ethnographic approach. Preliminary attention will be paid to chosen cinematic depictions such as as "memory-texts" (Kuhn, 2002:299), asking how films code the Holocaust as memory and how such framing is encountered by audiences. Archival analysis will provide reflexivity and historicised attention to the relationship between cinematic depictions and their reception. The bulk of the research will emphasise the intervention of cinematic depictions in a chosen memoryscape in Europe, paying attention to tourists' and practitioners' engagements with particular films as a means of remembering the Holocaust. This will be conducted through (self-)guided walking tours and ethnographies of museums and other relevant facilities within the chosen landscape(s).