My hypothesis is that the testimony of images can be grasped through the work of montage and in relation to their archival conditions, the context, and the framework conditions of production and means of aesthetic representation voice, narration, and gaze.
These factors offer the framework for the analysis through which the testimony of images can be understood. The tension embedded in an understanding of the image as witnessing, lies between the image as acting, speaking, and testifying and the necessary interpretation of its speech and testimony.
Thus, throughout this work, I intend to follow two strands of inquiry. The first strand is the specific discussion of the witness tradition after the Holocaust and the role of images therein. Along these lines, I ask what it would mean to bear witness from that specific situation and what role images would play in the act of bearing witness. The second strand deals with the more general question of what images do and how they give testimony.
The latter strand poses the theoretical challenge of this book, whereas the former provides the backdrop and context in which my entire endeavor is immersed — hence, the first strand provides the material for the second.
The three films that I discuss in this study are based on archival materials, which are edited visually and aurally, thus reactivating and reinterpreting the materials. Let me introduce them in more detail: A Film Unfinished by Yael Hersonski is a documentary which returns to the making of the unfinished German propaganda film Das Ghetto from The Nazis shot the material in the Warsaw Ghetto, only two months before most of its inhabitants were deported.
The images depicting Ghetto life are highly questionable, as they aim at manifesting the anti-Semitic stereotype Legal age teenager male servitude photo galleries homosexual the wealthy Jew, contrasted with the actual misery in the Ghetto. Respite by Harun Farocki merges moving images with still images from the transit camp Westerbork in the Netherlands.
In the spring of the camp commander commissioned a film, presumably as a means to argue why the camp should be maintained. It was shot by an inmate but never completed. The shots show daily activities in the camp, focusing on labor and production.
Portrait of a Modern Criminal by Eyal Sivan is an edited montage of filmed material from the Eichmann trial in Jerusalem in The trial, the first ever to be videotaped, was recorded in its entirety and broadcast daily in 37 countries. A Report on the Banality of Evil. What brings these three films together, beyond their interventions in Holocaust commemoration, are two common and crucial factors.
Firstly, they can be seen as critiques of other films departing from an assemblage of several sources, where archival material is put "Legal age teenager male servitude photo galleries homosexual" use in order to illustrate a given narrative.
Secondly, these filmmakers inscribe themselves as actors intervening in the materials. In all three films the intervention in the material is highlighted rather than obscured, and the presence of the filmmaker is embedded in the narrative — it is their specific voice, gaze, and argument.
Through a reading of how the films reinterpret the archival material and position it in a new time and context, I seek Legal age teenager male servitude photo galleries homosexual explicate how the film images bear witness.
Each of the three films manifests a particular method, or a certain way of understanding how images testify: The strategies employed by the filmmakers have informed my method, which I understand through the notion of resituating.
The artistic intervention in the archive formulates how the material is resituated — the filmmaker creates a situation in which the filmed material operates so as to give witness within a narration. This book seeks to unfold the implications of that movement. The concept of resituating arises from a focus on situation — the presupposition that everything is grounded somewhere and in something.
Both the phenomenological view of the human condition of being-in-the-world and the feminist critique of universal knowledge can amount to the view of a specific being: The footage on which each of the three films is based is, like all films and photographs, produced in a situation.