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Staging Encounters with Estranged Pasts: Radu Jude’s The Dead Nation (2017) and the Cinematic Face of Public Memory of the Holocaust in Present-Day Romania

机译:用疏远的历史进行演出:拉杜·裘德(Radu Jude)的《死国家》(2017)和当今罗马尼亚大屠杀的公众记忆的电影面孔

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This article provides a close analysis of Radu Jude’s The Dead Nation (2017), a documentary essay that brings together authentic archival sources documenting the persecution and murder of Jews in World War II. The sources include a little-known diary of Emil Dorian, a Jewish medical doctor and writer from Bucharest, a collection of photographs depicting scenes from Romanian daily life in the 1930s and 1940s, and recordings of political speeches and propaganda songs of a Fascist nature. Through a careful framing of this film in relation to Romanian public memory of World War II, and in connection to the popular new wave cinema, I will contend that Jude’s work acts, perhaps unwittingly, to intervene in public memory and invites the Romanian public to face up to and acknowledge the nation’s perpetrator past. This filmic intervention further offers an important platform for public debate on Romania’s Holocaust memory and is of significance for European public memory, as it proposes the film happening as a distinct and innovative practice of public engagement with history.
机译:本文对拉杜·裘德(Radu Jude)的《死亡国家(Dead Nation)(2017)》进行了仔细分析,该纪录片文章汇集了真实的档案资料,记录了第二次世界大战期间对犹太人的迫害和谋杀。资料来源包括一位名叫埃米尔·多里安(Emil Dorian)的日记,他是布加勒斯特的一位犹太医生和作家,收集了描绘1930年代和1940年代罗马尼亚日常生活场景的照片,并录制了法西斯性质的政治演讲和宣传歌曲。通过与罗马尼亚对第二次世界大战的公众记忆以及与流行的新浪潮电影有关的电影的精心构架,我认为裘德的作品可能是在不经意间干预了公众记忆,并邀请罗马尼亚公众参加。面对并承认美国的过去作案者。这部电影的干预措施进一步为公众辩论罗马尼亚的大屠杀记忆提供了重要平台,并且对欧洲的公共记忆具有重要意义,因为它建议这部电影的发生是公众与历史互动的独特创新做法。

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