POPULARITY
12 episodes with Claude Lanzmann
4 episodes with Claude Lanzmann
2 episodes with Claude Lanzmann
3 episodes with Claude Lanzmann
3 episodes with Claude Lanzmann
3 episodes with Claude Lanzmann
2 episodes with Claude Lanzmann
2 episodes with Claude Lanzmann
2 episodes with Claude Lanzmann
Zehn Jahre lang arbeitete Claude Lanzmann an seiner Dokumentation "Shoa" - ohne Archivbilder, dafür mit jüdischen Zeitzeugen und auch mit Mördern. Ein einzigartiges Werk der Filmgeschichte, in dem nicht das Überleben im Zentrum steht, sondern der Tod. Ressel, Siegfried www.deutschlandfunkkultur.de, Zeitfragen. Feature
durée : 00:59:12 - Toute une vie - par : Anaïs Kien - Claude Lanzmann a signé avec Shoah, le plus grand témoignage sur la destruction des juifs d'Europe, une oeuvre monumentale réalisée par un engagement viscéral et une grande détermination, caractéristique de celui qui dirigea Les Temps Modernes pendant plus de trente ans. - réalisation : Yvon Croizier - invités : Juliette Simont Docteure en philosophie, Maîtresse de recherche au Fonds National de la Recherche de Belgique, co-directrice de la revue Les Temps Modernes; Laura Koeppel Animatrice du ciné-club du cinéma Le Vincennes; Caroline Champetier Directrice de la photographie; Ruth Zylberman Écrivaine et réalisatrice; Annette Wieviorka Historienne, directrice de recherche honoraire au CNRS et vice-présidente du Conseil supérieur des Archives; Corinna Coulmas Philosophe et autrice
Charismatic German Jewish athlete Fredy Hirsch dedicated himself to inspiring and protecting children imprisoned by the Nazis. In this episode, survivors of Theresienstadt and Auschwitz whose lives were made tolerable, sometimes even joyful, thanks to his selfless efforts share their memories. Visit our episode webpage for additional resources, archival photos, and a transcript of the episode. For exclusive Making Gay History bonus content, join our Patreon community. ——— -The following interview segments are from the archive of the USC Shoah Foundation – The Institute for Visual History and Education: Dina Gottliebova-Babbitt, © 1998 USC Shoah Foundation Michael Honey, © 1997 USC Shoah Foundation Peter Mahrer, © 1998 USC Shoah Foundation Helga Ederer, © 1997 USC Shoah Foundation Yehudah Bakon, © 1996 USC Shoah Foundation Melitta Stein, © 1996 USC Shoah Foundation Eva Gross, © 1996 USC Shoah Foundation Chava Ben-Amos, © 1997 USC Shoah Foundation For more information about the USC Shoah Foundation, go here. -The following interview segments are from the United States Holocaust Memorial Museum Collection, Washington, D.C., courtesy of the Jeff and Toby Herr Foundation: RG-50.030.0488, oral history interview with Ursula Pawel RG-50.477.0497, oral history interview with John Steiner, gift of Jewish Family and Children's Services of San Francisco, the Peninsula, Marin and Sonoma Counties RG-50.106.0061, oral history interview with Rene Edgar Tressler For more information about the United States Holocaust Memorial Museum, go here. -The Rudolf Vrba audio was drawn from footage created by Claude Lanzmann during the filming of Shoah. Used by permission of the United States Holocaust Memorial Museum and Yad Vashem, the Holocaust Martyrs and Heroes' Remembrance Authority, Jerusalem. ——— To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Charismatic German Jewish athlete Fredy Hirsch dedicated himself to inspiring and protecting children imprisoned by the Nazis. In this episode, survivors of Theresienstadt and Auschwitz whose lives were made tolerable, sometimes even joyful, thanks to his selfless efforts share their memories. Visit our episode webpage for additional resources, archival photos, and a transcript of the episode. For exclusive Making Gay History bonus content, join our Patreon community. ——— -The following interview segments are from the archive of the USC Shoah Foundation – The Institute for Visual History and Education: Dina Gottliebova-Babbitt, © 1998 USC Shoah Foundation Michael Honey, © 1997 USC Shoah Foundation Peter Mahrer, © 1998 USC Shoah Foundation Helga Ederer, © 1997 USC Shoah Foundation Yehudah Bakon, © 1996 USC Shoah Foundation Melitta Stein, © 1996 USC Shoah Foundation Eva Gross, © 1996 USC Shoah Foundation Chava Ben-Amos, © 1997 USC Shoah Foundation For more information about the USC Shoah Foundation, go here. -The following interview segments are from the United States Holocaust Memorial Museum Collection, Washington, D.C., courtesy of the Jeff and Toby Herr Foundation: RG-50.030.0488, oral history interview with Ursula Pawel RG-50.477.0497, oral history interview with John Steiner, gift of Jewish Family and Children's Services of San Francisco, the Peninsula, Marin and Sonoma Counties RG-50.106.0061, oral history interview with Rene Edgar Tressler For more information about the United States Holocaust Memorial Museum, go here. -The Rudolf Vrba audio was drawn from footage created by Claude Lanzmann during the filming of Shoah. Used by permission of the United States Holocaust Memorial Museum and Yad Vashem, the Holocaust Martyrs and Heroes' Remembrance Authority, Jerusalem. ——— To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
On this episode of What a Picture, Bryan and Hannah try to do justice to Shoah, the 1985 movie directed by Claude Lanzmann that ranks #27 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll.Email us at podcast@whatapicturepod.comWhat a Picture website: https://whatapicturepod.comBryan's Social Media: Letterboxd | BlueskyMusic is "Phaser" by Static in Verona.
Ep. 301: Guy Lodge on Berlin 2025: Kontinental '25, Living the Land, Eel, Shoah doc All I Had Was Nothingness Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For my latest dispatch from the Berlin film festival, I sat down with Guy Lodge of Variety to talk about another batch of highlights from across the lineup. The titles we discussed include: Kontinental '25 (directed by Radu Jude), Living the Land (Huo Meng), the stunning debut feature Eel (Chu Chun-teng), and a documentary about Claude Lanzmann's making of Shoah, All I Had Was Nothingness (Guillaume Ribot). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
Our great political films series reaches the twenty-first century with Paul Thomas Anderson's unforgettable There Will Be Blood (2007), starring Daniel Day-Lewis as oilman Daniel Plainview in one of the all-time great screen performances. Based on Upton Sinclair's novel Oil! (1927), the movie swaps out Marx for Nietzsche and tells a story of money vs religion and family vs both. What, in the end, is the force that cannot be overcome? Out now: two bonus episodes on PPF+ to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: The Social Network Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
David talks to writer and journalist Helen Lewis about David Fincher's Fight Club (1999), the film that launched a thousand memes. Does this tale of thwarted masculinity and corporate malfeasance code left or code right? Who, in the end, is Tyler Durden: Joe Rogan or Jordan Peterson, Elon Musk or Andrew Tate? Is Fight Club a relic of the pre-digital age or a prophetic vision of what was coming? And … Meat Loaf?! Out now: two new bonus episodes on PPF+ to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next Time: There Will Be Blood Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
Our political films season has reached the late 1980s with Do The Right Thing (1989), Spike Lee's searing take on racial tension on a Brooklyn block on a boiling hot summer's day. How does a fight over pizza turn into a full-blown riot? With everyone feeling exploited, who is really to blame? And where do Martin Luther King Jr. and Malcom X – not to mention Jesse Jackson Jr. – fit in? Out now: two new bonus episodes on PPF+ to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: Fight Club w/ Helen Lewis Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
Today's great political film is Akira Kurosawa's epic of war and deception Kagemusha (1980). Set in late sixteenth-century Japan it tells the story of a thief tasked with impersonating a warlord. Can physical resemblance translate into political authority? How far does the conspiracy need to go? And who in the end is the real criminal? Out now: two new bonus episodes on PPF+ to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: Spike Lee's Do The Right Thing Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
Today's great political film is Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), voted the greatest film of all time in the 2022 Sight and Sound poll. A classic of feminist cinema it is also a film about the meaning of time and the illusions of choice. How can a movie which shows a woman peeling potatoes in real time have you on the edge of your seat? If the personal is the political, what do three days in the life of a Belgian housewife tell us about the true nature of power? Coming this weekend on PPF+: two new bonus episodes to accompany this series: Shoah part one and Shoah part two, exploring Claude Lanzmann's path-breaking, harrowing, unforgettable 9-hour documentary about the Holocaust. Sign up to PPF+ to get all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time in our regular slot: Kagemusha (1980) Past Present Future is part of the Airwave Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
"Le lièvre de Patagonie : mémoires" aux éditions Gallimard. Rencontre enregistrée le 9 juin 2009.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Send us a textIn 1985, the nine-hour film Shoah by Claude Lanzmann hit theaters. This powerful production featured survivor testimony as well as secretly filmed interviews with Nazi perpetrators. It's length and the way it was shot challenges our understanding of what a Holocaust film is. Is it a documentary film or something else? How has it impacted both our understanding of the event as well as the ways in which others have made films and movies about the Holocaust? In this discussion with Dominic Williams, we dive into all these questions and more! Dominic Williams is an assistant professor of history at Northumbria University in Newcastle, UK. Williams, Dominic and Nicholas Chare. The Auschwitz Sonderkommando: Testimonies, Histories, Representations (2019)Williams, Dominic and Nicholas Chare. Matters of Testimony: Interpreting the Scrolls of Auschwitz (2016)Follow on Twitter @holocaustpod.Email the podcast at holocausthistorypod@gmail.comThe Holocaust History Podcast homepage is hereYou can find a complete reading list with books by our guests and also their suggestions here.
En 1999, Daniele Kemp recevait Claude Lanzmann, célèbre pour son œuvre “Shoah”. Il partage des réflexions profondes sur son film “Un vivant qui passe”. Dans cet entretien il rejette le terme “documentaire” pour “Shoah”, le considérant comme une épopée explorant la mémoire et l'histoire au-delà de l'Holocauste. Lanzmann décrit les défis immenses de la réalisation de “Shoah”, un projet de onze ans marqué par une immersion totale et une “suspension rigoureuse du temps” pour capturer la vérité brute et douloureuse de l'Holocauste. Lanzmann aborde également “Un vivant qui passe”, qu'il qualifie de documentaire, mais insiste sur sa profondeur en tant que contre-interrogatoire des silences et des non-dits. Il critique le terme “devoir de mémoire”, soulignant l'importance des œuvres artistiques pour faire perdurer la mémoire et met en garde contre les dangers du révisionnisme. Son film est un rappel poignant de la nécessité de ne jamais oublier et de toujours questionner, soulignant les implications contemporaines de ses travaux.
Nous sommes le 4 mai 1927 à Bois-Colombes à une quinzaine de kilomètres de Paris. C'est là que Jacques Lanzman vient au monde, fils d'un décorateur et d'une antiquaire. Frère cadet de Claude Lanzmann, l'auteur du film « Shoah », Jacques commence écrire à l'âge de 27 ans. Son premier roman « La Glace est rompue » est publié en 154 et il obtient son premier succès l'année suivante avec « Le Rat d'Amérique ». Conteur, peintre, aventurier, mineur au Chili, journaliste, auteur de chansons, scénariste, romancier... Jacques Lanzman a eu plusieurs vies avant de tirer sa révérence le 21 juin 2006. Il avait 79 ans. On revient sur son riche parcours, tout en archives, avec la Sonuma dans une séquence signée LA … Sujets traités : Jacques Lanzman, Claude Lanzmann, journaliste, paroliers, scénariste, Chili, Jacques Dutronc Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Von Christa Zöchling. Israels Armee galt einmal als eine der besten der Welt - auch im ethischen Sinne. Jetzt steht sie unter dem Verdacht von Kriegsverbrechen. Wie kam das? Was ein Dokumentarfilm des französischen Regisseurs Claude Lanzmann aus den 1990er Jahren über das Verhalten der israelischen Armee im Gaza-Krieg heute erzählt. Die Dunkelkammer ist ein Stück Pressefreiheit. Unabhängigen Journalismus kannst Du auf mehreren Wegen unterstützen: Mit einem Premium-Abo bei Apple Podcasts https://shorturl.at/uDSTY Mit einer Mitgliedschaft bei Steady https://shorturl.at/guAD7 Mit einer direkten Spende https://shorturl.at/chJM8 Und ganz neu: Mit einem Merch-Artikel aus unserem Shop https://shorturl.at/uyB59 Vielen Dank!
Featuring... Sidewalk Home Video - Charles Shyer's Baby Boom, starring Diane Keaton as a working lady who — record scratch — accidentally adopts a baby?! Is that allowed?!? What We're Watching - Mostly The Zone of Interest, but also Under the Skin and Claude Lanzmann's documentary Shoah — and Corey saw the second part of a certain sci-fi epic about the geriatric spice melange, which he enjoyed Hosted by your own personal cinematic Zachary Ty Bryan & Applebee's! Music by Splash '96 Recorded & Edited by Boutwell Studios Email us at podcast@sidewalkfest.com with your thoughts on The Fast and the Furious: Tokyo Drift (and other matters of your choice) NEW: Sidewalk is on Threads! Follow us!
Adam Shatz speaks with Kate Wolf and Eric Newman about his latest book, The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon. The book is both a biography of Fanon— one of the most important thinkers on race and colonialism of the last century— as well as an intellectual history that looks closely at his most seminal texts. Shatz uncovers the events that led to the writing of books such as Black Skin, White Masks and the Wretched of the Earth by following Fanon from his birth in Martinique (then a French colony), to his time serving in World War II, his studies in Lyon, his innovative work as a psychiatrist in France and Algeria, as well as his pivotal decision to join in the fight for Algerian independence and become a part of the FLN. Though Fanon died at only 36, in 1961, Shatz also explores the many afterlives of his work, from his embrace by the Black Panthers and his influence on filmmakers such as Claude Lanzmann and Ousmane Sembene to echoes of his thought in the continued movements for Black liberation and decolonization today. Also, E. J. Koh, author of The Liberators, returns to recommend The Twilight Zone by Nona Fernandez, translated by Natasha Wimmer.
Adam Shatz speaks with Kate Wolf and Eric Newman about his latest book, The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon. The book is both a biography of Fanon— one of the most important thinkers on race and colonialism of the last century— as well as an intellectual history that looks closely at his most seminal texts. Shatz uncovers the events that led to the writing of books such as Black Skin, White Masks and the Wretched of the Earth by following Fanon from his birth in Martinique (then a French colony), to his time serving in World War II, his studies in Lyon, his innovative work as a psychiatrist in France and Algeria, as well as his pivotal decision to join in the fight for Algerian independence and become a part of the FLN. Though Fanon died at only 36, in 1961, Shatz also explores the many afterlives of his work, from his embrace by the Black Panthers and his influence on filmmakers such as Claude Lanzmann and Ousmane Sembene to echoes of his thought in the continued movements for Black liberation and decolonization today. Also, E. J. Koh, author of The Liberators, returns to recommend The Twilight Zone by Nona Fernandez, translated by Natasha Wimmer.
durée : 00:43:09 - Signes des temps - par : Marc Weitzmann - Alors que le nouveau film de Jonathan Glazer "La Zone d'intérêt" est sorti en salle le 31 janvier, Signes des temps interroge la mise en scène, la puissance et les ambivalences du dispositif choisi, dans ce film où le camp d'extermination jouxte la maison de famille d'un dignitaire nazi. - invités : Sylvie Lindeperg Historienne, spécialiste de la seconde guerre mondiale et de l'histoire du cinéma. Professeure à l'université Paris 1 Panthéon-Sorbonne. Membre du groupe de recherche V13 sur les archives audiovisuelles du procès des attentats du 13 novembre 2015.; Ophir Lévy Maître de conférences en Études cinématographiques à l'Université Paris 8 - Vincennes-Saint-Denis.; Michaël Prazan Écrivain, réalisateur, documentariste
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Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies
Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies
Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies
Jennifer Cazenave's An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann's Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann's eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum. The chapters of Cazenave's book explore the film's conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
Today, Secret Movie Club Team Members Edwin Gomez and Craig Hammill discuss Terry Zwigoff's breakout 1990's documentary CRUMB about underground comic book artist R. Crumb and his dysfunctional brothers. Both Edwin and Craig talk about how a second viewing really emphasizes how heavy Crumb's home life was. We nominate some other powerful "dark" documentaries. Edwin name checks the Maysles' 1960's key work SALESMAN and Errol Morris's 1980's THE THIN BLUE LINE. Craig talks about Claude Lanzmann's 1980's masterwork SHOAH and Joshua Oppenheimer's 2012 THE ACT OF KILLING. Edwin talks the re-opening of the Vista and Craig mentions how much he likes David Fincher's new movie THE KILLER. (This Pod acts as a kind of Part II to SMC Pod #94 which looked at AMERICAN MOVIE and the documentary genre).
Ce cycle intitulé Claude Lanzmann, le lieu et la parole, invite à rien moins qu'une quarantaine de projection et de rencontre autour de l'auteur de Shoah mais de bien d'autres films encore comme pourquoi Israël ? ou Tsahal.C'est le critique de cinéma Arnaud Hée qui a imaginé cet évènement.Une rétrospective qui permet d'embrasser l'ensemble de l'œuvre de Claude Lanzmann et de la mettre en perspective.
durée : 00:58:42 - Plan large - par : Antoine Guillot - Aujourd'hui, nous recevons la directrice de la photographie Caroline Champetier pour la rétrospective consacrée à Claude Lanzmann à Cinémathèque du Documentaire de la BPI du Centre Pompidou, le cinéaste Mathieu Amalric pour sa trilogie sur le musicien John Zorn, et aussi Sophie-Catherine Gallet. - invités : Caroline Champetier Directrice de la photographie; Mathieu Amalric Acteur et réalisateur; Sophie-Catherine Gallet Collaboratrice à France Culture, critique de cinéma à Revus et corrigés, cinéaste
durée : 00:58:42 - Plan large - par : Antoine Guillot - Aujourd'hui, nous recevons la directrice de la photographie Caroline Champetier pour la rétrospective consacrée à Claude Lanzmann à Cinémathèque du Documentaire de la BPI du Centre Pompidou, le cinéaste Mathieu Amalric pour sa trilogie sur le musicien John Zorn, et aussi Sophie-Catherine Gallet. - invités : Caroline Champetier Directrice de la photographie; Mathieu Amalric Acteur et réalisateur; Sophie-Catherine Gallet Collaboratrice à France Culture, critique de cinéma à Revus et corrigés, cinéaste
durée : 01:04:59 - Les Nuits de France Culture - par : Albane Penaranda - Le journaliste et réalisateur Claude Lanzmann, le chanteur Serge Reggiani, ainsi que Hugues Gall, administrateur adjoint de l'Opéra de Paris, sont les invités du comédien François Périer. Sixième des dix entretiens qu'il anime pour France Culture en octobre 1973. - invités : Claude Lanzmann Journaliste, écrivain, cinéaste (1925-2018); Serge Reggiani Chanteur, comédien, écrivain; Hugues Gall administrateur adjoint de l'Opéra de Paris
durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - En décembre 2012, pour "Une vie, une œuvre", Virginie Bloch-Lainé rassemble les morceaux du puzzle Marker. Ecrits, photographies, films, vidéos, dessins et mondes virtuels... l'univers du cinéaste Chris Marker est raconté par Claude Lanzmann, Régis Debray, Raymond Bellour, parmi d'autres. - invités : Claude Lanzmann Journaliste, écrivain, cinéaste (1925-2018); Régis Debray Philosophe et écrivain.; Raymond Bellour Directeur de recherches au CNRS, historien du cinéma, romancier; Arnaud Lambert Cinéaste, auteur de "Also Known as Chris Marker"; Bruno Muel Réalisateur; Edouard Waintrop Critique de cinéma, directeur de la Quinzaine des réalisateurs
Jackie and Greg discuss Claude Lanzmann's nine-hour-plus eyewitness account of the Holocaust, SHOAH from 1985. Topics of discussion include Lanzmann's approach as a filmmaker, the 11 years it took to make the film, the portrayal of Nazis in subsequent media, and why it's the most essential piece of nonfiction cinema ever made.#29 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#27 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeThe USC Shoah Foundation: https://sfi.usc.eduCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe
Steven Spielberg's Schindler's List - which was included on the Vatican's 1995 list of important films - is generally acclaimed as a masterpiece, yet some critics have called it a Hollywood falsification of its subject matter, either because it does not sufficiently show the brutality of the Holocaust, because the story is told from the point of view of a German, because it has (in some respects) a happy ending, or because (according to the critique of Shoah director Claude Lanzmann) any fictional portrayal whatsoever of the Holocaust is necessarily a transgression. It is true that while Schindler's List conveys not a little of the horror of the Holocaust, it is also the work of a master entertainer, Steven Spielberg. For a 3 hour, 15 minute drama about genocide, it is remarkably watchable; and indeed, compared with many other movies of the same length, it positively flies by. Shouldn't a film about the Holocaust be a bit more...unbearable? In this discussion of the film, James and Thomas take these questions seriously, while ultimately vindicating Spielberg's work. While there are things a popular Hollywood drama is not going to accomplish, it is legitimate to portray terrible events in a way that is honest and yet does not actually traumatize the viewer. A film that exercises more restraint will perhaps be more successful in carrying on the memory of the dead to future generations than one which is such an unrelenting immersion in evil that few can bear to watch it. Meanwhile, the film, while not being unwatchably brutal, offers a real spiritual challenge to the viewer, one which will especially resonate with those who study to imitate the lives of the saints. Those who object to telling the story from the perspective of a real-life German savior of eleven hundred Jews are missing the point. DONATE to make this show possible! http://catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com
Kristallnacht was the violent uprising against German Jews in November 1938 that was the opening to the eventual genocide of six million Europeans Jews—and then millions of others—during World War II. This final episode of Good Assassins Season 2 tells the story of Herschel Grynszpan, the young man whose story is at the dead center of the Holocaust. He became an assassin, and the assassination he committed on November 7, 1938 in Paris is the spark that set off the inferno that was the Nazi Holocaust. In 1938 Herschel Grynszpan was just 17 years old. This episode contains interviews with: • Joseph Matthews: author of the historical novel about Herschel Grynszpan called Everyone Has Their Reasons praised as a "A tragic, gripping Orwellian tale of an orphan turned assassin in pre-World War II Paris..." • Armin Fuhrer: journalist, archivist, and historian who wrote Herschel: The Assassination of Herschel Grynszpan on November 7, 1938 and The Beginning of the Holocaust • Herman Kempinsky (Ziering): Holocaust survivor and former president of the Society of the Survivors of the Riga Ghetto. Clips from interviews with Lore Oppenheimer and Hermann Ziering from the Claude Lanzmann Shoah Collection. Created by Claude Lanzmann during the filming of "Shoah," used by permission of United States Holocaust Memorial Museum and Yad Vashem. © United States Holocaust Memorial Museum, Yad Vashem, State of Israel. For more information visit USHMM • Jonathan Kirsch: author of the book, The Short, Strange Life of Herschel Grynszpan: A Boy Avenger, a Nazi Diplomat, and a Murder in Paris. Clip from interview with Los Angeles Review of Books Learn more at diversionaudio.com/good-assassins “Good Assassins” is a production of Diversion Audio, in association with iHeartPodcasts. Featuring the voices of Matthew Amendt, Orlagh Cassidy, Raphael Corkhill, Manoel Felciano, Sean Gormley, Mikaela Izquierdo, Lenne Klingaman, Andrew Polk, John Pirkis, Steve Routman. This season is hosted by Stephan Talty and written by C.D. Carpenter. Produced and directed by Kevin Thomsen for Real Jetpacks Productions. Story Editing by Jacob Bronstein with editorial direction from Scott Waxman. Additional research and reporting by Sophie McNulty. Theme music by Tyler Cash. Sound Design, Mixing, and Mastering by Paul Goodrich. Sound Editing by Justin Kilpatrick. Executive Producers: Jacob Bronstein, Mark Francis and Scott Waxman for Diversion Audio. See omnystudio.com/listener for privacy information.
The story of one of the most consequential spies in American history. Her name was Virginia Hall, and she was known to the Nazis as "The Limping Lady." The Nazis called her “the most dangerous of all Allied spies.” From spy to resistance leader, her story is a thrilling tale of a woman whose efforts in the face of fascism, racism, sexism, and ableism saved thousands of lives.There's maybe no figure of espionage in all of history like Virginia Hall. She embodies a lot of what's amazing about fictional spies like James Bond or Ethan Hunt or Sydney Bristow (from the TV show Alias). But unlike all those spies, Virginia Hall was very real. And she changed the course of history.Coming up on Good Assassins Season 2: a devious and double-crossing Nazi priest, elaborate dental work and disguises, and a dangerous trek across a mountain range to escape the most terrifying villains in world history.We'll bring you daring sabotage plots, thrilling espionage, and brutal war stories as we follow Virginia Hall's ascent from clerk to international spy to guerilla war leader. You've never heard a story like this. Learn more at diversionaudio.com/good-assassins Episode 1, "The Greatest Spy of WWII" contains clips from interviews with Lore Oppenheimer and Hermann Ziering from the Claude Lanzmann Shoah Collection. Created by Claude Lanzmann during the filming of "Shoah," used by permission of United States Holocaust Memorial Museum and Yad Vashem. © United States Holocaust Memorial Museum, Yad Vashem, State of Israel. For more information visit USHMMSee omnystudio.com/listener for privacy information.
durée : 03:00:00 - Les Nuits de France Culture - Le bon plaisir - Claude Lanzmann (1ère diffusion : 28/09/1996)
En este capítulo analizamos el portentoso documental sobre la historia del Holocausto - "Shoa" de Claude Lanzmann de 1985. Es importante mencionar que esta cinta de diez horas de duración recoge el testimonio de numerosos sobrevivientes, verdugos, vecinos y testigos del exterminio en una época en que aún eran jóvenes o al menos capaces de recordar y por tanto sus relatos (una joya en cuanto a historia oral) estaban aún muy vívidos. Para ello tuvimos el privilegio de tener como invitada a la profesora de Historia del Pueblo Judío Cecilia Shefanber. Acá dejamos el enlace para poder ser visto por todos: https://gloria.tv/post/13s4rafddhgJCBgYkokNJbbwd#10 #shoa #holocausto #holocaustosobrevivientes #segundaguerra #judios #judíos #judios #documental #claudelanzamann #polonia #exterminio #solucionfinal #nazismo #fascismo #israel #Auschwitz #sobibor #chelmo #Treblinka #hitler #heydrich #berlin #varsovia #guetto #gueto #guetovarsovia #resistencia #himmler #shoadocumental #historiaoral #ceciliashefanber #genocidio #derechoshumanos
durée : 01:00:09 - Toute une vie - Lorsque Chris Marker est mort en juillet 2012, à l'âge de 91 ans, c'est à son film "La Jetée" que l'on a pensé. - invités : Arnaud Lambert cinéaste, auteur; Edouard Waintrop Critique de cinéma, directeur de la Quinzaine des réalisateurs; Régis Debray Philosophe et écrivain.; Claude Lanzmann journaliste, écrivain, cinéaste (1925-2018); Bruno Muel réalisateur; Raymond Bellour directeur de recherches au CNRS, historien du cinéma, romancier; Eric Marty Ecrivain, essayiste et professeur de littérature française à l'Université Paris Diderot-Paris 7
durée : 00:38:06 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce deuxième entretien accordé à Albane Penaranda à l'occasion de la nuit qui lui est consacrée, Caroline Champetier évoque l'influence des photographes sur son travail, raconte le tournage du film "Shoah" de Claude Lanzmann et revient sur sa collaboration marquante avec Godard. - invités : Caroline Champetier Directrice de la photographie; Claude Lanzmann journaliste, écrivain, cinéaste (1925-2018)
durée : 01:00:00 - Les Nuits de France Culture - En décembre 2012, pour "Une vie, une ouvre", Virginie Bloch-Lainé rassemblait les morceaux du puzzle Marker. Ecrits, photographies, films, vidéos, dessins et mondes virtuels l'univers de Chris Marker était raconté par Claude Lanzmann, Régis Debray, Raymond Bellour, parmi d'autres. Qui était Christian Bouche-Villeneuve ? * Né à Neuilly sur Seine un 29 juillet en 1921 et mort aussi un 29 juillet, en 2012. Qui était-il. caché sous ses multiples pseudonymes parmi lesquels s'est imposé celui de Chris Marker ? Pour Alain Resnais ça ne faisait aucun doute : Chris Marker me paraît un personnage fascinant, à ma connaissance unique au monde. Je ne connais personne qui puisse avoir à la fois ce sens des problèmes politiques contemporains, ce goût du beau, cette espèce de joie devant la culture et devant l'art, cet humour ; et qui arrive, lorsqu'il fait un film à ne se séparer d'aucune de ces tendances. La jetée bien sûr... Cuba si... Le fond de l'air est rouge... Sans Soleil__... et beaucoup d'autres choses encore. Sans César ni plateau de télévision, celui qui disait n'avoir jamais eu de "préoccupations artistiques" laisse pourtant une ouvre d'une incroyable richesse. Ses biographies étaient farceuses. il ne donnait pas d'interviews. On a de lui peu de photographies de son visage ou d'enregistrements de sa voix autres que ceux des bandes sons de ses films. Chris Marker a été un énigmatique voyageur, de tout temps, de son temps. Utilisant toutes les techniques de notre temps, clandestin, brouillant les pistes, il s'est éparpillé de la manière la plus poétique qui soit. Dans des écrits, des photographies, des films, des vidéos, dessins et mondes virtuels. Chris Marker était partout de ce monde. Dans ce documentaire, produit par Virginie Bloch-Lainé, ceux qui ont croisé sa route le racontent : Claude Lanzmann, Régis Debray, Raymond Bellour, Arnaud Lambert, Bruno Muel, Eric Marty et Edouard Waintrop. Production : Virginie Bloch-Lainé Réalisation : Christine Diger Une vie, une oeuvre - Chris Marker (1ère diffusion : 01/12/2012) Indexation web : Sandrine England, Véronique Vecten, Sylvain Alzial, Etienne Rouch, Documentation Sonore de Radio France Archive Ina-Radio France
Released in 1985 and directed by Claude Lanzmann, Shoah is one of the most important films ever made from both a historical and humanitarian level. It's a film comprised of video interviews with people who lived through the Holocaust from all different viewpoints. The majority of whom are Jewish survivors. In recognition of Holocaust Remembrance Day I wanted to shine a light on Shoah as it is important that we never forget their stories.To learn more about preventing antisemitism and genocide or learning about the Holocaust visit the United States Holocaust Memorial Museum's website at ushmm.org or Yad Vashem, Israel's Memorial Museum to Holocaust Survivors and Victims at yadvashem.org.
This week, Finn & Uther watch Claude Lanzmann's ‘Shoah' (1985), a 9 hour plus documentary on one of humanity's greatest crimes, and Uwe Boll's 2011 holocaust trilogy—‘Auschwitz', ‘Bloodrayne: The Third Reich' and ‘Blubberella'—another of humanity's greatest crimes. See acast.com/privacy for privacy and opt-out information.
durée : 00:59:44 - Tous en scène - par : Aurélie Charon - Nicolas Bouchaud a eu envie d'adapter le documentaire "Un vivant qui passe" de Claude Lanzmann sur scène. Jana Klein et Stéphane Shoukroun se racontent dans "Notre histoire" : un juif et une allemande tombent amoureux, que transmettent-ils comme histoire à leur fille de 10 ans ? - invités : Nicolas Bouchaud acteur et metteur en scène; Eric Didry Metteur en scène et acteur
durée : 03:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Antoine Dhulster - Par Elisabeth Huppert - Avec Claude Lanzmann (journaliste, écrivain, cinéaste, producteur) - Réalisation Jacques Taroni - réalisation : Virginie Mourthé
durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - En décembre 2012, pour "Une vie, une œuvre", Virginie Bloch-Lainé rassemblait les morceaux du puzzle Marker. Ecrits, photographies, films, vidéos, dessins et mondes virtuels l'univers de Chris Marker était raconté par Claude Lanzmann, Régis Debray, Raymond Bellour, parmi d'autres. - réalisation : Virginie Mourthé - invités : Claude Lanzmann journaliste, écrivain, cinéaste (1925-2018); Régis Debray Philosophe et écrivain.; Raymond Bellour directeur de recherches au CNRS, historien du cinéma, romancier; Arnaud Lambert cinéaste, auteur; Bruno Muel réalisateur; Edouard Waintrop Critique de cinéma, directeur de la Quinzaine des réalisateurs
durée : 00:38:06 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Dans ce deuxième entretien accordé à Albane Penaranda à l'occasion de la nuit qui lui est consacrée, Caroline Champetier évoque l'influence des photographes sur son travail, raconte le tournage du film "Shoah" de Claude Lanzmann et revient sur sa collaboration marquante avec Godard. - réalisation : Virginie Mourthé - invités : Caroline Champetier Directrice de la photographie; Claude Lanzmann journaliste, écrivain, cinéaste (1925-2018)
Rob Brydon, Daniel Mays and Adeel Akhtar were among the actors spending long hours in swimming pools last summer rehearsing for, and shooting, the new British film Swimming With Men, based on a true story about a group of male synchronised swimmers competing in the world championships. Stig Abell reports from the set at Basildon swimming pool, which was masquerading as Milan, the venue for the finals.Laura Wade, the playwright behind Posh and the stage adaption of Tipping the Velvet, discusses Home, I'm Darling, her new a play about a modern couple trying emulate the happy domesticity of the 1950s. With the announcement of the winner of the £100,000 Art Fund Museum of the Year 2018 later this evening, we have our final report from the five finalists. So far we've heard from Brooklands Museum in Weybridge, Glasgow Women's Library, The Postal Museum in London, and Tate St Ives. Tonight we visit Ferens Art Gallery in Hull, which was at the heart of Hull UK City of Culture last year.Filmmaker and writer Claude Lanzmann, famous for Shoah - his 1985 epic exploration of the Holocaust, has died. He's remembered by the writer and cultural critic Agnes Poirier.Presenter Stig Abell Producer Jerome Weatherald.
Shoah, the epic nine-and-a-half hour documentary on the Holocaust by French film director Claude Lanzmann, was first screened in spring 1985. It took Lanzmann 11 years to make, and had taken him to 14 different countries. The film centres on first-hand testimony by survivors, witnesses and by perpetrators and uses no archive footage. On its release, it was hailed as one of the greatest films on the Holocaust ever made. Louise Hidalgo has been talking to Irena Steinfeldt, who worked with Lanzmann on the film.Picture: the original poster for the film, Shoah
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