By Malgorzata Pakier
Is a standard ecu Holocaust reminiscence attainable? the writer methods this question by means of reading Polish and German cinema after 1989, and the general public debates at the earlier that experience surrounded the filmic narratives. Of all media, cinema has exerted the broadest effect within the formation of collective reminiscence concerning the Holocaust. regardless of the space in time, and particularly because the fall of communism, this demanding bankruptcy in ecu historical past has come into ever sharper concentration. movie makers have refracted evolving public know-how and in flip projected the dramas and photographs that inculcate mass opinion. This paintings examines those dynamic traits in regards to chose Polish and German characteristic motion pictures. the writer exhibits how cinema opened hitherto taboo features to dialogue. She unearths either a deep divide among the 2 nations, in addition to major related developments within the reminiscence of occasions.
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Additional info for The Construction of European Holocaust Memory: German and Polish Cinema after 1989
Sample text
For the rest of the day he or she should rejoice and be glad, showing the world his smiling face” (Olczak-Ronikier 2002: 313). Europa, Europa combines the solemn and tragic story of Salomon Perel’s Holocaust survival with caricature, irony and the grotesque. Even though the story told is set against the background of one of the greatest tragedies of twentieth-century Europe, viewers are presented with incongruous episodes and escapes so miraculous as to be funny, all in the anecdotal form of a “philosophical tale”.
Still new groups of people are being delivered by the trucks and loaded off. The whole operation is coordinated by Wehrmacht soldiers who are beating and bludgeoning the prisoners, acting in a violent and ruthless manner. Once in a while, loud shots are heard, the sounds of mass executions taking place in the nearby forests. In this scenery of crime we are presented for the first time with the characters of the German soldiers, among whom Sally will subsequently spend much time on the front. One of these soldiers is a young officer who is personally checking the documents of the prisoners waiting in a row together with Sally.
Andrzej Wajda’s feature film Katyń (2007) was one of the first cinematic treatments to address the crime and the memory of it, with Wajda declaring that the work also commemorated those members of his own family who were slain in the massacre. Thus for Polish viewers of Europa, Europa, this one briefly-uttered word, “Starobielsk”, conjures up a series of mental images apart from those of the orphanage on the screen. The audience knows something that Zenek does not, namely, that his father is doomed.