America, the Holocaust, and the Mass Culture of Memory
Toward a Radical Politics of Empathy
Bibliographic Data
| ID | 5155353 |
|---|---|
| Authors | Alison Landsberg (corresponding author) |
| Year | 1997 |
| Issue | 71 |
| Pages | 63 |
| Publication date | 1997-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | New German Critique (JOURNAL) |
| Journal identifiers | ISSN: 0094-033X • E-ISSN: 1558-1462 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/488559 |
| OpenAlex | W2318564810 |
| Language | EN |
| Citations received | 37 |
In the final scene of Schindler's List (Steven Spielberg, 1993), a marching line of actors leaving a liberated concentration camp dissolves into a marching line of the real-life Schindler Jews approaching Schindler's grave in Israel. In this dissolve, the black-and-white film changes to color, signaling both a generic and a temporal shift from the classical Hollywood mode and the past to real-life and the present.2 The real Schindler Jews walk with the actors and actresses who portrayed them to Schindler's grave, upon which they together place a memorial rock. This scene both ruptures the diegetic world of the film and acts as a guarantee of the movie's authenticity. The movement that I would like to emphasize here is not the one from past to present, but rather the one between the survivor and the actor. This moment stages what I take to be the agenda of the film the transferring of living memory from the body of a survivor to an individual who has no authentic link
Mass culture · German History and Society · Italian Fascism and Post-war Society · Memory, Trauma, and Commemoration
Representing the pain of others
Memory, Authority, and Identity
Exhibiting slavery
What is Holocaust perpetrator fiction
Ontology and Atrocity
From prosthetic memory to prosthetic denial
“I definitely felt like I was there”
Empathic Identification in Anne Michaels’s Fugitive Pieces
Collapsible spaces and distant storyworlds in (trans-)cultural memory studies
Attitudes towards the Government’s Remembrance Policy in Poland
The public private
The Railway Men
Spiegelman Studies Part 1 of 2
Rites of passage
Picturing experience
National Rebirth as a Movie
Witness as Study
Becoming a Butterfly”
Revealing the memorial experience through the tourist-led construction of imagined communities
Hacia una “nueva época” en los estudios de memoria social
Cultural heritage authenticity
Modern Partner Relationships and their Transformation in the Age of Late Modernity
The Façade of Anstalt Deutschland
The Role of Domestic Architecture in the Structuring of Memory
L’affaire Matthew Shepard aux États-Unis
Making Place, Making Race
Memory and popular film
Let Them Eat Macarons?Dissonant heritage of Marie Antoinette at Petit Trianon
Looking for Frank
Shoe
On Arrival
Vicarious Group Trauma among British Jews
Trendy Monsters
Empathy, Pornography, and Suffering
Crafting resonance
Understanding Home Renovation as a Material Future-Making Practice
Contested Images of Rape
| Unique citing works | 37 |
|---|---|
| Citations per year | 1,42 |
| Citation span | 2000 - 2026 (27) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 35 |