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

随着欧洲各地极右翼选举死灰复燃的当前政治气候，以及目睹大屠杀的一代人的逝去，人们再次担心过去的教训可能会消失，担心大屠杀的历史会像记忆一样长久。这个拟议中的博士项目探讨的是，电影描绘如何能够为那些没有经历过大屠杀的人维持对大屠杀的记忆，形成与公共文化产生共鸣的记忆框架。因此，它是对电影潜在的纪念作用和可能的后电影媒体发展的检验，如虚拟现实，当代记忆和调解的本质，以及实用的纪念教学方法。该项目试图通过地理角度审视这些发展，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方面的工作上。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、照片或电影的经验接触中的情感转移，将他们没有经历过的过去事件作为个人记忆（Landsberg, 2004; Hirsch, 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）为基础，该研究认为，故意神圣化的记忆场所取代了景观中自发记忆的缺失；也就是说，记忆不是被遇到的，而是被创造出来的。在与萦绕（Till, 2005; Gordon, 2008）、影响（Brennan, 2004; Navaro-Yashin, 2012）和电影（Rauch, 2017; Past, 2019）等作品的对话中，该项目探讨了记忆景观是否可以通过电影和纪录片制作等移动和沉浸式记忆场所来调解，以及如何调解。在方法上，本项目提出了一种迭代的民族志方法。初步的关注将集中在选定的电影描述，如“记忆文本”（库恩，2002:299），询问电影如何将大屠杀编码为记忆，以及观众如何遇到这种框架。档案分析将提供反身性和历史性的关注之间的关系的电影描绘和他们的接受。大部分研究将强调在欧洲选定的记忆景观中电影描绘的干预，关注游客和从业者将特定电影作为纪念大屠杀的一种手段。这将通过（自我）导游徒步旅行和博物馆和其他相关设施在选定的景观(s)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).