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1	The Responsibilities and Limitations of Holocaust Storytelling: Understanding the Structure and Usage of the Master Narrative in Holocaust Film MacGregor, Fianna Raven 01 January 2011 (has links) When we speak of historical events, we do so with a certain amount of perceived knowledge; that is, we come to believe we know specific, individual 'truths' about the event. Since historical works are never unembellished lists of documented facts, the knowledge of how we conceive of factual events, how we document events we did not witness, is important in understanding the resulting storytelling process, not just in fictional literary constructs such as novels, short stories, poetry or film, but in the formulation of history itself. For written history must be seen, at least in part, as a constructed or representational reality and this construction generally takes place organically, that is, there are no architects of such histories. Instead, they come together as a result of public acceptance of the individual elements of the narrative. Over time, historical data and anecdotal narrative solidify into a cohesive whole made up of both hard fact and individual response to those facts, a blended whole that can be termed the master narrative of the historical event and which serves as the basis on which we construct the fictional narratives of literature and film. Holocaust History Holocaust Literature Holocaust Film Genocide -- Historiography Motion pictures and history
2	Beyond the memory: the era of witnessing – analyzing processes of knowledge production and memorialization of the Holocaust through the concepts of translocal assemblage and witness creation Gerber, Myriam Bettina 09 May 2016 (has links) This paper considers the symbiotic relationship between iconic visual representations of the Holocaust – specifically film and Holocaust sites – and processes of Holocaust memorialization. In conjunction, specific sites and objects related to the Holocaust have become icons. I suggest that specific Holocaust sites as well as Holocaust films can be perceived as elements of one and/or multiple translocal assemblage/s. My focus in this analysis is on the role of knowledge production and witness creation in Holocaust memorialization. It is not my intention to diminish the role of Holocaust memorialization; rather, I seek to look beyond representational aspects, and consider the processual relationships involved in the commemoration of the Holocaust in institutions, such as memorial sites and museums, as well as through elements of popular culture, such as films. Furthermore, I analyze the tangible and intangible layers of memories and meaning present in Holocaust films and sites through the lens of palimpsests. These conceptual frameworks allow me to consider how visual representations of the Holocaust, such as film, and site inform each other? How are specific representations of Holocaust sites and objects shaping and informing the commemoration of the Holocaust in the 21st century? / Graduate / 0326 / 0335 / 0751 / myriamt@uvic.ca Holocaust memory Holocaust sites Holocaust film Holocaust commemoration Holocaust victims Translocal assemblage Palimpsests Cremation Ashes Memorials Poland Auschwitz-Birkenau Treblinka Plaszow Shoah Schindler's List Sonderaktion 1005 Sonderkommando Knowledge production Witness creation

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The Responsibilities and Limitations of Holocaust Storytelling: Understanding the Structure and Usage of the Master Narrative in Holocaust Film

Beyond the memory: the era of witnessing – analyzing processes of knowledge production and memorialization of the Holocaust through the concepts of translocal assemblage and witness creation