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Listening to the Perpetrators in Claude Lanzmann’s Shoah
| Content Provider | Semantic Scholar |
|---|---|
| Author | McGlothlin, Erin |
| Copyright Year | 2010 |
| Abstract | One of the most notable aspects of Claude Lanzmann’s monumental film Shoah (1985), apart from its obsessive visual focus on the present-day sites of Holocaust atrocity, is the extraordinary multivocality that characterizes its soundtrack.Composed chieflyof the filmed interviewsLanzmann conducted with dozens of Holocaust-era witnesses, but also amplified by autobiographical utterances read aloud from letters anddiaries, the filmpresents, over the course of over nine hours, an overwhelming polyphony of voices, each of which, in its ownsingularway, testifies to the experienceof theHolocaust.On the level of cinematic experience, these many witnesses amass in choral accusation as if to give voice to a Polish landscape that itself remains resolutely mute about themurders ofmillions towhich itwaswitness; asMichaBrumlik observes in his 1986 review in Der Spiegel, |
| File Format | PDF HTM / HTML |
| Volume Number | 43 |
| Alternate Webpage(s) | http://periodicals.narr.de/index.php/colloquia_germanica/article/download/677/655 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
