Ch. 6 – Remembering to Remember – remembering to forget

pg 171 – By the end of the seventies, the HOlocaust drifted to the forefront of public conciousness, making its recollection increasingly at issue. In scholar Lawrence Langer’s words “to enter the [next] stage of Holocaust response, moving from what we know of the even to how we remember it,”

pg 171 – Holocaust newly establish as both an academic subject … such a “re-elaboration” of the past” drew attention as much to the act of remembering as to the issue of what was being remembered.

pg 173 – The interest in the Holocaust that reemerged in the late 70s crystallized across settings as wide-ranging as museums, official commemorations and media retrospectives. In 1979, the US began officially commemorating the HOlocaust in national ceremonies, at the same time as the concentration camps of Europe became pilgrimage destinations of those seeking to remember Nazi atrocity.

pg 174 – Elie Wiesel noted in his 1995 memoirs, “memory is a passion no less powerful or persuasive than love… what does it mean to remember? it is to live in more than one world, to prevent the past from fading and to call upon the future to illuminate it”. in the NEwyorktime view, Wiesel’s use of a “wide-angled lens” addressed familiar issues of remembering the holocaust but broadened them to look at memory itself as a form of representation [ elie Wiesel : between memory and hope]

pg 174 – “The use of symbols often means that people do not necessarily know the precise detailed answers to normal, logical questions: When did the Holocaust begin? when did it end? where did it happen? why did it happen? The whole point about a symbol is that it allows one to possess cultural knowledge without having the totality of the facts

pg 175 – The screening of Claude Lanzmann’s Shoah in 1985 lent renewed cogency to the centrality of memory and to the role of survivors in shaping that memory, though the camps were featured through their absence rather than their presence: Shoah  was acclaimed precisely because it did not feature visual depictions of the atrocities.

pg 175 – When Schindler’s List won awards for best movie in 1993, making the subject of the Holocaust “accessible to ordinary people”. The suggest that popular culture was giving new life to the act of bearing witness, sometimes eroding it via its recontextualization

 

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