Tobias Ebbrecht-Hartmann
Biographic Data
| ID | 951019 |
|---|---|
| NAME | Tobias Ebbrecht-Hartmann |
| GIVEN NAMES | Tobias |
| FAMILY NAME | Ebbrecht-Hartmann |
| SIGNATURE | EBBRECHT-HARTMANN T |
| AFFILIATIONS | Hebrew University of Jerusalem |
| ORCID | 0000-0002-5588-4988 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 57 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
On TikTok, everything needs to be playful, even the Holocaust!”
TikTok has become a space where playfulness is the dominant lingo for engaging with serious subjects. On the platform, the Holocaust is mediated through meme-based performances like the #POVHolocaustChallenge, a trend that invited users to re-enact fictionalized memories of Holocaust victims. Our analysis of 250 videos identifies 3 types of Holocaust-related memetic narratives—mem(e)ories: (1) Testimonial Mem(e)ory, where “victims” testify from “…
Framing contagious images
This article examines how Nazi-era film footage shaped Holocaust memory in post-war German film documentaries. From the mid-1950s, filmmakers began using previously unreleased archival footage to document the persecution of European Jews, a subject that had been largely suppressed until then. These films often relied on unpublished records from propaganda units, soldiers and Nazi officials. As a result, they contain ‘contagious images’ that eithe…
Playful images
This article presents a conceptual and methodological framework that focuses on the interactivity, creativity, and variability of Holocaust images in digital media. Our argument unfolds in three stages. First, we introduce the concept of playful images: historical images that undergo recontextualisation, serving memetic, personal, and interactive engagements in and by digital media. Secondly, drawing on pivotal scholarship in digital methods, ant…
Digital visual history
Digital technologies are revolutionizing the way we study and understand history. Historical sources and material evidence are increasingly being transformed into digital objects and integrated into larger databases, offering new ways of researching history in the digital age. This article reviews dominant practices that deal with new forms of historiography. It does so by offering digital curatorial practices and outlines a new methodological co…
Youthful Platform Commemoration
On February 9, 2021, shortly after his great-grandmother Lily Ebert, a Holocaust survivor from Hungary, recovered from COVID-19, 17-year-old Dov Forman shared a simple message on his Twitter account: "To relate more to of my generation, my great-Grandmother (Lily Ebert—Auschwitz survivor) and I, have created a @tiktok_uk account. We hope to keep sharing her testimony [...]." By June 2021, Ebert and her great-grandson emerged as prominent influenc…
Commemorating from a distance
The severe restrictions on public life in many countries following the spread of the COVID-19 pandemic specifically affected Holocaust memorials and museums in all parts of the world, especially in Europe and in Israel. These measures posed a significant challenge, because contemporary forms of Holocaust commemoration are particularly based on the personal experience of presence at museums and historical sites. In contrast to the experience of di…
Media resonance and conflicting memories
The three-part German television drama Generation War (2013) created a national and subsequently international debate about the past and present of wartime memories. While these discussions were framed nationally as intergenerational dialogue, in the context of a unified Europe that is still struggling with its own self-perception and identity, the framework of international disputes about interpretation of the war was marked by conflicting memor…
Memorials as discursive spheres
In recent decades, the experience of non-governmental politically motivated violence became a central element of global memory culture. Motivated by several shocking attacks at the beginning of the new millennium, this commemorative culture evolved in a memory ecology, which was significantly shaped by the prosperity of global Holocaust memory. Therefore, public commemoration of politically motivated violence intersects different discursive eleme…
Witnessing Eva Stories
This study examines the relations between memory, social media experience, and testimony in the Eva Stories Instagram project. By conducting a combined visual and multimodal analysis of the stories, as well as a close analysis of the relations between social media experience and testimony, we claim that Eva Stories establishes a new responsive space for remembering the Holocaust. This space enables users to inscribe themselves into mediated Holoc…
Resonating Trauma
The participation of two members of the German radical Left terrorist group Revolutionary Cells turned the 1976 Entebbe hostage crisis into a significant chapter of German and Israeli history. The article reviews the framing of the hijacking of a passenger plane by a West German-Palestinian commando and explores historical references to the traumatic memories of the Holocaust that resonated in the public perception, cinematic depiction, and comme…
Trophy, evidence, document
Many German soldiers filmed with their private cameras during World War II, but only lately have some of these private films become part of public archives and begun circulating in documentary films and historical television. An early example is an archive film depicting mass shootings in the Latvian town of Liepaja in July 1941, recorded by Reinhard Wiener, a German marine sergeant and amateur cinematographer. From a wartime trophy, the footage …
La commémoration de la shoah par l'image dans la culture Allemande
La question de la memoire de la Shoah se pose, pour l’Allemagne, de facon tres particuliere. Cet article montre les deux modes de transmission de cette memoire choisis par ce pays : d’un cote la conservation en musee, c’est-a-dire la fixation et la codification des evenements historiques et de leurs consequences sur le present ; de l’autre cote, la mise en avant de l’experience vivante de ces evenements, c’est-a-dire la mise en scene de ce fait h…
History, Public Memory and Media Event
During the last few decades the representation of history on television has undergone significant change. This change is strongly connected to an increasing interest in public history as a source o
Docudramatizing history on TV
The 60th anniversary celebration of the end of the Second World War became an important political, social and media event. Memory rituals, speeches and official announcements, celebrations, movies and reports created an ensemble of social activities that re-dramatized the historic event. In these kinds of memorial rituals the re-dramatization of history becomes part of collective memory, in which a shared image of historic incidents is created. M…
Witnessing Eva Stories
This study examines the relations between memory, social media experience, and testimony in the Eva Stories Instagram project. By conducting a combined visual and multimodal analysis of the stories, as well as a close analysis of the relations between social media experience and testimony, we claim that Eva Stories establishes a new responsive space for remembering the Holocaust. This space enables users to inscribe themselves into mediated Holoc…
Commemorating from a distance
The severe restrictions on public life in many countries following the spread of the COVID-19 pandemic specifically affected Holocaust memorials and museums in all parts of the world, especially in Europe and in Israel. These measures posed a significant challenge, because contemporary forms of Holocaust commemoration are particularly based on the personal experience of presence at museums and historical sites. In contrast to the experience of di…
Docudramatizing history on TV
The 60th anniversary celebration of the end of the Second World War became an important political, social and media event. Memory rituals, speeches and official announcements, celebrations, movies and reports created an ensemble of social activities that re-dramatized the historic event. In these kinds of memorial rituals the re-dramatization of history becomes part of collective memory, in which a shared image of historic incidents is created. M…
History, Public Memory and Media Event
During the last few decades the representation of history on television has undergone significant change. This change is strongly connected to an increasing interest in public history as a source o
Digital visual history
Digital technologies are revolutionizing the way we study and understand history. Historical sources and material evidence are increasingly being transformed into digital objects and integrated into larger databases, offering new ways of researching history in the digital age. This article reviews dominant practices that deal with new forms of historiography. It does so by offering digital curatorial practices and outlines a new methodological co…
Playful images
This article presents a conceptual and methodological framework that focuses on the interactivity, creativity, and variability of Holocaust images in digital media. Our argument unfolds in three stages. First, we introduce the concept of playful images: historical images that undergo recontextualisation, serving memetic, personal, and interactive engagements in and by digital media. Secondly, drawing on pivotal scholarship in digital methods, ant…
Youthful Platform Commemoration
On February 9, 2021, shortly after his great-grandmother Lily Ebert, a Holocaust survivor from Hungary, recovered from COVID-19, 17-year-old Dov Forman shared a simple message on his Twitter account: "To relate more to of my generation, my great-Grandmother (Lily Ebert—Auschwitz survivor) and I, have created a @tiktok_uk account. We hope to keep sharing her testimony [...]." By June 2021, Ebert and her great-grandson emerged as prominent influenc…
Media resonance and conflicting memories
The three-part German television drama Generation War (2013) created a national and subsequently international debate about the past and present of wartime memories. While these discussions were framed nationally as intergenerational dialogue, in the context of a unified Europe that is still struggling with its own self-perception and identity, the framework of international disputes about interpretation of the war was marked by conflicting memor…
Memorials as discursive spheres
In recent decades, the experience of non-governmental politically motivated violence became a central element of global memory culture. Motivated by several shocking attacks at the beginning of the new millennium, this commemorative culture evolved in a memory ecology, which was significantly shaped by the prosperity of global Holocaust memory. Therefore, public commemoration of politically motivated violence intersects different discursive eleme…
History, Public Memory and Media Event
During the last few decades the representation of history on television has undergone significant change. This change is strongly connected to an increasing interest in public history as a source o
Docudramatizing history on TV
The 60th anniversary celebration of the end of the Second World War became an important political, social and media event. Memory rituals, speeches and official announcements, celebrations, movies and reports created an ensemble of social activities that re-dramatized the historic event. In these kinds of memorial rituals the re-dramatization of history becomes part of collective memory, in which a shared image of historic incidents is created. M…
La commémoration de la shoah par l'image dans la culture Allemande
La question de la memoire de la Shoah se pose, pour l’Allemagne, de facon tres particuliere. Cet article montre les deux modes de transmission de cette memoire choisis par ce pays : d’un cote la conservation en musee, c’est-a-dire la fixation et la codification des evenements historiques et de leurs consequences sur le present ; de l’autre cote, la mise en avant de l’experience vivante de ces evenements, c’est-a-dire la mise en scene de ce fait h…
Trophy, evidence, document
Many German soldiers filmed with their private cameras during World War II, but only lately have some of these private films become part of public archives and begun circulating in documentary films and historical television. An early example is an archive film depicting mass shootings in the Latvian town of Liepaja in July 1941, recorded by Reinhard Wiener, a German marine sergeant and amateur cinematographer. From a wartime trophy, the footage …
Resonating Trauma
The participation of two members of the German radical Left terrorist group Revolutionary Cells turned the 1976 Entebbe hostage crisis into a significant chapter of German and Israeli history. The article reviews the framing of the hijacking of a passenger plane by a West German-Palestinian commando and explores historical references to the traumatic memories of the Holocaust that resonated in the public perception, cinematic depiction, and comme…
Media resonance and conflicting memories
The three-part German television drama Generation War (2013) created a national and subsequently international debate about the past and present of wartime memories. While these discussions were framed nationally as intergenerational dialogue, in the context of a unified Europe that is still struggling with its own self-perception and identity, the framework of international disputes about interpretation of the war was marked by conflicting memor…
Memorials as discursive spheres
In recent decades, the experience of non-governmental politically motivated violence became a central element of global memory culture. Motivated by several shocking attacks at the beginning of the new millennium, this commemorative culture evolved in a memory ecology, which was significantly shaped by the prosperity of global Holocaust memory. Therefore, public commemoration of politically motivated violence intersects different discursive eleme…
Witnessing Eva Stories
This study examines the relations between memory, social media experience, and testimony in the Eva Stories Instagram project. By conducting a combined visual and multimodal analysis of the stories, as well as a close analysis of the relations between social media experience and testimony, we claim that Eva Stories establishes a new responsive space for remembering the Holocaust. This space enables users to inscribe themselves into mediated Holoc…
Commemorating from a distance
The severe restrictions on public life in many countries following the spread of the COVID-19 pandemic specifically affected Holocaust memorials and museums in all parts of the world, especially in Europe and in Israel. These measures posed a significant challenge, because contemporary forms of Holocaust commemoration are particularly based on the personal experience of presence at museums and historical sites. In contrast to the experience of di…
Youthful Platform Commemoration
On February 9, 2021, shortly after his great-grandmother Lily Ebert, a Holocaust survivor from Hungary, recovered from COVID-19, 17-year-old Dov Forman shared a simple message on his Twitter account: "To relate more to of my generation, my great-Grandmother (Lily Ebert—Auschwitz survivor) and I, have created a @tiktok_uk account. We hope to keep sharing her testimony [...]." By June 2021, Ebert and her great-grandson emerged as prominent influenc…
Digital visual history
Digital technologies are revolutionizing the way we study and understand history. Historical sources and material evidence are increasingly being transformed into digital objects and integrated into larger databases, offering new ways of researching history in the digital age. This article reviews dominant practices that deal with new forms of historiography. It does so by offering digital curatorial practices and outlines a new methodological co…
Playful images
This article presents a conceptual and methodological framework that focuses on the interactivity, creativity, and variability of Holocaust images in digital media. Our argument unfolds in three stages. First, we introduce the concept of playful images: historical images that undergo recontextualisation, serving memetic, personal, and interactive engagements in and by digital media. Secondly, drawing on pivotal scholarship in digital methods, ant…
On TikTok, everything needs to be playful, even the Holocaust!”
TikTok has become a space where playfulness is the dominant lingo for engaging with serious subjects. On the platform, the Holocaust is mediated through meme-based performances like the #POVHolocaustChallenge, a trend that invited users to re-enact fictionalized memories of Holocaust victims. Our analysis of 250 videos identifies 3 types of Holocaust-related memetic narratives—mem(e)ories: (1) Testimonial Mem(e)ory, where “victims” testify from “…
Framing contagious images
This article examines how Nazi-era film footage shaped Holocaust memory in post-war German film documentaries. From the mid-1950s, filmmakers began using previously unreleased archival footage to document the persecution of European Jews, a subject that had been largely suppressed until then. These films often relied on unpublished records from propaganda units, soldiers and Nazi officials. As a result, they contain ‘contagious images’ that eithe…
Art (11 works) · History (10 works) · Memory, Trauma, and Commemoration (9 works) · Sociology (9 works) · The Holocaust (9 works) · Law (8 works) · Media studies (8 works) · Political science (8 works) · History (7 works) · Law (7 works)