Ikonen der Vernichtung : öffentlicher Gebrauch von Fotografien aus nationalsozialistischen Konzentrationslagern nach 1945
- Title
- Ikonen der Vernichtung : öffentlicher Gebrauch von Fotografien aus nationalsozialistischen Konzentrationslagern nach 1945 / Cornelia Brink.
- Published by
- Berlin : Akademie, ©1998.
- Author
Items in the library and off-site
Displaying 1 item
Status | Format | Access | Call number | Item location |
---|---|---|---|---|
Status | FormatText | AccessUse in library | Call numberD805.G3 B722 1998 | Item locationOff-site |
Details
- Description
- 266 pages : illustrations; 25 cm
- Summary
- Analyzes photographs of the concentration camps taken by Allied military and civilian photographers immediately after the liberation of the camps in 1945, and their use in West Germany. Criticizes their perception as authentic representations of reality, without consideration of who took them and with what motive; for what purpose they were used in 1945 and later; and how they were received. The Allies disseminated the pictures in newspapers, brochures, and placards in order to confront the Germans with their crimes; the reaction was either rejection or horror, but in either case disassociation from the crimes, which were committed by "them", not "us". Pictures and films were used in war crimes trials, but played a secondary role. In 1960, Gerhard Schoenberner's "Der gelbe Stern" became the first, and still the best known, of many collections of Holocaust photographs. It shows types - "the" camp, "the" perpetrator, "the" victim, and tends to differentiate between the passive and therefore guiltless German people and the Nazi leaders. Photographs are also part of educational exhibitions at memorial sites. Again the use of horror photographs is counterproductive: children cannot cope with them and repress them. The traditional photographs show Jews as anonymous victims; they must be complemented by pictures showing the rich Jewish life before the Holocaust. Pictures of Jews in their degradation may also arouse in the viewer the same voyeurism that motivated the Nazi photographer. Mentions ways in which museum staff have tried to deal with these problems. But the repeated use of the same photographs has turned them into icons about which we cease to think.
- Subject
- Arbeitserziehungslager Jägala
- Bundesprüfstelle für Jugendgefährdende Schriften Bonn Jahrestagung
- BMBF-Statusseminar
- 1939-1945
- World War, 1939-1945 > Concentration camps > Documentation > Germany
- World War, 1939-1945 > Atrocities > Documentation > Germany
- Nazi concentration camps > Documentation > Germany
- Holocaust, Jewish (1939-1945) > Documentation > Germany
- Documentary photography > Germany
- Internment camps
- Nazi concentration camps > Documentation
- Atrocities
- Documentary photography
- Documentation
- Fotografie
- Judenverfolgung
- Konzentrationslager
- Politische Bildung
- Vergangenheitsbewältigung
- Öffentliche Meinung
- Fotografie
- Gedenkstätte
- Nationalsozialismus
- Nationalsozialistisches Verbrechen
- Politische Bildung
- Rezeption
- Judenvernichtung
- Öffentlichkeit
- Konzentrationslager
- Holocaust
- Concentratiekampen
- Oorlogsfotografie
- Germany
- Deutschland
- Genre/Form
- Bildband.
- Hochschulschrift.
- Owning institution
- Princeton University Library
- Bibliography (note)
- Includes bibliographical references (p. [243]-264).