Racialized urban America and Holocaust film : negotiating the limits of representation

Sidney Lumet’s influential film The Pawnbroker (1964) is one of the earliest films to consider the encounter between Holocaust narratives and low-income, urban American racial minorities. As much concerned with contemporary ‘race relations’ in the United States as it is with the Nazis’ persecution of Europe’s Jews, the film intertwines the story of Holocaust survivor Sol Nazerman with the social tensions of 1960s America, represented in his relationship with the young Puerto Rican shop assistant Jesus Oritz. The film stylistically juxtaposes raw footage of concentration camp existence with dismal images of New York slum life. Against these backdrops, the protagonist’s climactic ‘silent scream’ emblematically merges the repressed trauma of the survivor with the filmmaker’s interest in race relations, a theme that has undergone various transformations in a number of films since. One film that contemporizes this encounter is Richard LaGravenese’s Freedom Writers (2007). As opposed to the tragic outcome of the pawnbroker’s induction into urban America, here the Holocaust is a redemptive tool that permits inner-city Black and Latino youth to contextualize their own suffering. After reading The Diary of Anne Frank, this group of ‘at-risk’ sophomores to inspired to collaborate on an ultimately successful effort to bring Miep Geis, the woman who sheltered Anne Frank, to speak at their high school. Foregrounded by the 1992 Los Angeles riots, gentiles teacher Erin Gruwell and savior Miep Geis transform the Holocaust from an amplified parallel of American slums into an event that permits the children of American postcoloniality to triumph in spite of their socio-economic circumstances. Underlining the tension between the Jewish specificity and unprecedented nature of the Holocaust, and the need to generate Holocaust narratives that intersect with intrinsically racialized American narratives, such films have significant implications for how collective memories of suffering are constructed and contested.

Marginalising the marginal in holocaust films : fictional representations of jewish policeman

This paper explores the issue of how Jewish victims who occupied so-called 'privileged' positions during the Holocaust are represented in fictional films. Such figures, particularly Jewish policemen in the ghettos, may be seen to inhabit the 'marginal' in two ways, both in terms of the unprecedented ethical dilemmas they faced, and the relative lack of attention such figures have received. Taking Primo Levi's paradigmatic essay on the 'grey zone' as a point of departure, this paper analyses how Jewish policemen are represented in mainstream, 'Hollywood' fictional films, namely Steven Spielberg's Schindler's List, in order to reveal that the narrative concerns of such works preclude any serious engagement with themes of moral ambiguity and 'compromise'. Attention will also be given to a more recent trend in the genre of Holocaust film that directly confronts these issues, nonetheless such films may themselves be viewed as marginalised due to their subject matter.

Narratives of judgement: representations of 'privileged' Jews in Holocaust documentaries

Auschwitz survivor Primo Levi’s highly influential essay, “The Grey Zone”, explores the taboo issue of “privileged” Jews, those prisoners who were forced to cooperate with their Nazi captors in order to prolong their lives or the lives of their families. Levi argues that moral evaluations of privileged Jews should be suspended; however, judgements of these liminal figures have permeated representations of victims’ experiences. Taking Levi’s reflections on the “grey zone” as a point of departure, I analyse the ways in which a number of Holocaust documentary narratives construct problematic judgements of privileged Jews; nonetheless, it will be shown that some films engage with the issue in a nuanced manner. While Levi singles out the medium of film as particularly predisposed to simplistic judgements, I argue that documentary film has considerable potential to offer a complex representation of the extreme ethical dilemmas that privileged Jews faced.

The future of the past: digital media in Holocaust museums

This essay critically examines the implications of digital media for the remembrance of the Holocaust in contemporary museum spaces, a development that has seen fundamental shifts in thinking around agency, education and entertainment. Expanding existing discussions of this issue into the Australian context, the essay takes as its central case study the design and integration of interactive StoryPod screen media in Melbourne’s Jewish Holocaust Centre. Addressing both the limitations and potentialities of interactive digital technologies for facilitating visitor-viewers’ engagement with survivor stories, the analysis highlights that digital media can be used to complement and enhance – rather than replace – traditional artefact and photographic displays, and will play an integral role in the Holocaust museums of the future.

Mothers, monsters, heroes and whores: reinscribing patriarchy in European Holocaust films

This article examines the portrayal of female Gentile rescuers in Holocaust films. We analyze two recent and somewhat unconventional Eastern European films, Agnieszka Holland’s In Darkness (Poland, 2011) and Jan Hrebejk’s Divided We Fall (Czech Republic, 2000), which, to varying degrees, disrupt conventional narratives of selfless heroism and avoid the eroticized objectification of women common in many (particularly American) Holocaust films. Nevertheless, a detailed analysis reveals how these films also marginalize or erase women’s roles as rescuers, either in preference to narratives of dominative masculine heroism or in order to undertake a politico-religious appropriation of the Holocaust, each of which implicitly excludes and exploits the feminine. In both cases, the films trivialize women’s particular and complex historical experiences, including sexual violence, and subordinate them to masculine interests.

Representation and judgement : 'privileged' Jews in Holocaust writing and film

This thesis analyses the ways in which moral judgements of so-called privileged Jews are constructed in Holocaust representations. ‘Privileged’ Jews include those prisoners in the camps and ghettos who held positions which gave them access to material and other benefits. Subject to extreme levels of coercion, these victims were compelled to act in ways that have often been judged as both self-serving and harmful to fellow inmates. Such controversial figures constitute an intrinsically important, frequently misunderstood and hastily judged facet of the Holocaust. Scholars have neglected the problem of judgement in relation to ‘privileged’ Jews; nonetheless, Holocaust texts frequently portray these liminal figures.

Of crucial importance to the thesis is Primo Levi’s paradigmatic essay entitled ‘The Grey Zone,’ which directly engages with the complex and sensitive issue of ‘privileged’ Jews. Levi argues that due to the extreme ethical dilemmas that ‘privileged’ Jews confronted, any judgement of these victims needs to be suspended. However, if, as Levi suggests, judgement is at times impossible, the thesis challenges Levi’s assumption by contending that representations of ‘privileged’ Jews inevitably take a moral position. In this way, the thesis conceptualises judgement as a ‘limit’ of representation. Indeed, it is shown that Levi himself cannot abstain from judging those for whom he argues judgement should be suspended.

The thesis takes Levi’s concept of the ‘grey zone’ as a point of departure in order to examine the problems of judgement and representation in relation to ‘privileged’ Jews. Analysis focuses on Raul Hilberg’s influential historical work and examples of documentary and fiction films. The thesis examines how Hilberg and several filmmakers employ conventions as a means of conveying judgement. It is argued that self-reflexive representations of ‘privileged’ Jews in film, particularly fictional dramatisation, have the potential to provide a nuanced representation of ‘privileged’ Jews, which engages with Levi’s ideas by questioning the possibility of judgement.