Remember me, but forget my fate’ – The use of music in Schindler’s List and In Darkness
Bibliographic Data
| ID | 12904161 |
|---|---|
| Authors | Elias Berner (University of Music and Performing Arts Vienna, corresponding author) |
| Year | 2019 |
| Volume | 27 |
| Issue | 2 |
| Pages | 156-170 |
| Publication date | 2019-08-09 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Holocaust Studies (JOURNAL) |
| Journal identifiers | ISSN: 1750-4902 • E-ISSN: 2048-4887 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17504902.2019.1637490 |
| OpenAlex | W2967754090 |
| Language | EN |
| References cited | 10 |
This article investigates the process of identity construction through music in two feature films about the Shoah that deal explicitly with acts of resistance and solidarity: Schindler’s List (1993) and In Darkness (2011). It focuses on two aspects: how are perpetrators and victims characterized and distinguished by the soundtrack; and what music is used at key turning points of plots that deal with the survival, rescue, and death of Shoah-victims? An examination of the continuities and differences between the ways in which music is used in these two films may shed some light on on-going debates about the historical development of memory production
Aesthetics · Art · Darkness · Identity (music · Key (lock · Literature · Political science · Resistance (ecology · Sociology · Solidarity · The Holocaust · Theology · Visual arts · Central European Literary Studies · Computer Science · German History and Society · Law · Philosophy · Polish-Jewish Holocaust Memory Studies
| Highly cited | No |
|---|