Transcultural engagement with Polish memory of the Holocaust while watching Leszek Wosiewicz's Kornblumenblau
Bibliographic Data
| ID | 12904208 |
|---|---|
| Authors | Victoria Grace Richardson-Walden (0000-0002-5298-8810, Queen Mary University of London, corresponding author) |
| Year | 2016 |
| Volume | 22 |
| Issue | 2-3 |
| Pages | 256-273 |
| Publication date | 2016-03-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Holocaust Studies (JOURNAL) |
| Journal identifiers | ISSN: 1750-4902 • E-ISSN: 2048-4887 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17504902.2016.1148882 |
| OpenAlex | W2316675514 |
| Language | EN |
| References cited | 29 |
Kornblumenblau (Leszek Wosiewicz 1989) is a film that explores the experience of a Polish political prisoner interned at Auschwitz I. It particularly foregrounds issues related to Polish-Jewish relations during the Holocaust in its diegesis. Holocaust films are often discussed in relation to representation and the cultural specificity of their production context. However, this paper suggests thinking about film and topographies, the theme of this issue, not in relation to where a work is produced but in regards to the spectatorial space. It adopts a phenomenological approach to consider how, despite Kornblumenblau's particularly Polish themes, it might address the transcultural spectator and draw attention to the broader difficulties one faces when attempting to remember the Holocaust. Influenced particularly by the writing of Jennifer M. Barker and Laura U. Marks, this paper suggests that film possesses a body ¬¬- a display of intentionality, beyond those presented within the diegesis, which engages in dialogue with the spectator. During the experience of viewing Kornblumenblau, this filmic corporeality draws attention to the difficulties of confronting the Holocaust in particularly haptic ways, as the film points to the unreliability of visual historical sources, relates abject sensations to concentrationary spaces and breaks down as it confronts the scene of the gas chamber
Aesthetics · Art · Context (archaeology · Political science · Politics · Relation (database · Representation (politics · Sociology · The Holocaust · Theme (computing · Theology · Visual arts · Cinema and Media Studies · Computer Science · History · Law · Memory, Trauma, and Commemoration · Philosophy · Polish-Jewish Holocaust Memory Studies
Exploring Affect
The Skin of the Film
Powers of Horror
Tactile Eye
Psychoanalysis and Cinema
The Address of the Eye
Alien Phenomenology, or What It's Like to Be a Thing
Thirdspace
Totality and Infinity
First Films of the Holocaust
Transnational Memory
The Generation of Postmemory
Murdering and Denouncing Jews in the Polish Countryside, 1942-1945
Postscript
Night Guard”
Jean-Luc Godard. Cinema Historian
Visual Pleasure and Narrative Cinema
Afterimage
The Imaginary Signifier
Thirdspace
Vibrant Matter
Memory Unbound
| Highly cited | No |
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