Podcasts about Lanzmann

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

durée : 00:58:47 - Plan large - par : Antoine Guillot - De retour de la 75e Berlinale, avec Guillaume Ribot pour "Je n'avais que le néant – « Shoah » par Lanzmann" présenté dans la section Berlinale Special, Lionel Baier et Radu Jude dont les films "La Cache" et "Kontinental'25" sont en Compétition cette année, et aussi Mathieu Macheret. - réalisation : Anne-Laure Chanel - invités : Radu Jude Cinéaste et scénariste roumain; Guillaume Ribot Réalisateur de documentaire et photographe; Lionel Baier Comédien et cinéaste.; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

durée : 00:58:47 - Plan large - par : Antoine Guillot - De retour de la 75e Berlinale, avec Guillaume Ribot pour "Je n'avais que le néant – « Shoah » par Lanzmann" présenté dans la section Berlinale Special, Lionel Baier et Radu Jude dont les films "La Cache" et "Kontinental'25" sont en Compétition cette année, et aussi Mathieu Macheret. - réalisation : Anne-Laure Chanel - invités : Radu Jude Cinéaste et scénariste roumain; Guillaume Ribot Réalisateur de documentaire et photographe; Lionel Baier Comédien et cinéaste.; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

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.

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

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

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

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

durée : 03:00:00 - Les Nuits de France Culture - Le bon plaisir - Claude Lanzmann (1ère diffusion : 28/09/1996)

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

First broadcast on January 09, 1986. In making this film, Lanzmann interviewed death-camp survivors and Nazi functionaries.

durée : 00:55:21 - Affaires sensibles - par : Fabrice Drouelle - Aujourd’hui dans Affaires Sensibles, l’histoire d’une polémique littéraire et historique : « l’affaire Karski » ou le duel qui opposa, en 2010, l’écrivain Yannick Haenel et le réalisateur Claude Lanzmann.

durée : 00:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - "A voix nue", Claude Lanzmann au micro de Laure Adler, une émission diffusée pour la première fois sur France Culture le 3 janvier 2006. Diffusion du volet 7/10. - réalisation : Virginie Mourthé - invités : Claude Lanzmann journaliste, écrivain, cinéaste (1925-2018)

durée : 00:59:10 - 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; Corinna Coulmas Philosophe et autrice; Caroline Champetier Directrice de la photographie; Laura Koeppel Animatrice du ciné-club du cinéma Le Vincennes; Annette Wieviorka Historienne, directrice de recherches au CNRS.; Ruth Zylberman Écrivaine et réalisatrice

durée : 00:05:48 - Pop Story saison 6 - Jacques Dutronc Les cactus - Après avoir recensé 700 millions de chinois et moi et moi, joué au noctambule avec les play-boys de profession, Jacques Dutronc est parti faire le botaniste dans la pampa.

"Shoah" von 1985 gilt als radikalster Dokumentarfilm über die Judenvernichtung. Regisseur Claude Lanzmann wollte das System der Massenmorde detailliert festhalten, doch erst die Montagetechnik der Editorin Ziva Postec erzeugt die Wirkung des Films. Natascha Freundel hat mit Lanzmann und Postec über die Entstehung von "Shoah" gesprochen.

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

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 its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca). Learn more about your ad choices. Visit megaphone.fm/adchoices

Parmi les marches effectuées par le journaliste Jacques Lanzmann,  celle de 1983, à travers la partie désertique d’Israël, aura peut-être  été la plus rude : l’aridité est cruelle dans le Néguev. À l’époque, Tsahal effectue des essais militaires dans le Sinaï, et  le moins que l’on puisse dire est que cela ne facilite pas la vie de  notre randonneur de l’extrême : « Avions et chars lancent leur  mitraille, écrira Lanzmann pour Paris Match. Ça pète de partout. Des  pans de montagne s’écroulent. On sursaute en marchant. On sursaute en  dormant. Des fusées éclairantes descendent du ciel, suspendues à leur  petit parachute. » Au bout de ce parcours du combattant, apparaîtra pourtant la cime  chère à Moïse : « Oh, mont magique, sommet divin ! Nous voici enfin  venus à toi. Les yeux aimantés sur l’horizon chromo, où les roses et les  bleus vaporeux dansent une sorte de folle sarabande, nous contemplons  le chemin parcouru. » D’autant plus beau qu’il fut difficile.   CRÉDITS Un  podcast interprété par Franck Ferrand. Auteur : Christophe Dard.  Direction éditoriale et voix : Catherine Lalanne. Prise de son :  Emmanuel Viau, Nolwenn Thivault. Création sonore, montage et mixage :  Gabriel Fadavi. Production : Laurence Szabason. Création visuelle : Marc  Guillon. Edition : Cécile Picco et Anne-Lyne Cabarrou.  Musique  : « the Moldau DG » – Composé par Bedrich Smetana -(p) & © Chappell  recorded Music Library Ltd – Avec l’aimable autorisation d’Universal  Production Music France  Un podcast Le Pèlerin – 2019. 

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]

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

Edição de 18 de outubro 2017 - O Rato da América, de Jacques Lanzmann

Today's 48th Sight and Sound entry is Jean-Luc Godard's eight-part essay-style documentary series Histoire(s) du Cinema. A film as sprawling and experimental as Histoire(s) requires both time and patience to parse. For that reason, the majority of this podcast is spent decoding Histoire(s) esoteric text. Joining host, Lady P, to translate the film is a set of panelist with wide array of strong opinions on the film - as befits a figure as polarizing as Godard. First up, in his Flixwise debut, is film critic and host of The Cinephiliacs podcast, Peter Labuza. Peter's on hand to advocate for Histoire(s), not just as a piece of superlative filmmaking, but also for its significance as one of the few non-linear works on the S&S list. Co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, are a little more skeptical about some of Godard's ideas, though they both found pieces in the film's 4+ hours that they could get behind. They talk about why they found Histoire(s) both totally great and totally frustrating. Lady P, meanwhile, spends most of the episode just frustrated and befuddled.

Ett drygt decennium tog det för den franske filmaren Claude Lanzmann att färdigställa sin film om förintelsen - Shoah. Den nio timmar långa filmen var klar 1985 och anses som ett mästerverk. Lyssna på alla avsnitt i Sveriges Radio Play. Claude Lanzmanns film utspelar sig i Polen, i tomrummet efter nazisternas förintelseläger under andra världskriget. En kamera söker spår i det som inte längre finns, bland de tomma barackerna i Auschwitz, snårskogen och minnesstenarna på den plats där lägret i Treblinka låg, tågen, spårområdena.Under sitt insamlande av berättelserna om livet i de judiska ghettona, om transporterna till lägren, om ankomsten, trängseln och de fasansfulla rutinerna utkristalliserade sig ett spår, som skulle bli ämnet för Shoah, och det var det som ingen kunde berätta om, döden i gaskamrarna, Shoah skulle handla inte om överlevandet utan om döden.Han söker upp de judiska män som tvingades arbeta i förintelselägren, träffar polska bybor som levde sina liv strax intill lägren och smygintervjuar bödlarna, de tyska nazisterna.Intervjuerna har återutgivits i bokform och Lanzmanns självbiografi "Haren i Patagonien" är också översatt till svenska.En Klassiker från 2015 av Katarina Wikars.

Our Holocaust Remembrance continues, as we take a look at the 1989 documentary WEAPONS OF THE SPIRIT. Last week, we talked about Claude Lanzmann's 1985 landmark film SHOAH: a film which chronicles, in great detail, the process by which the German Nazis went about planning and executing the horrors of the genocide of the European Jewry. This week's film looks at The Atrocity through a very different, but no less important lens. WEAPONS OF THE SPIRIT focuses largely on the inhabitants of a small French village called Le Chambon-sur-Lignon. These inhabitants, while under Nazi occupation, made it their collective mission to shelter any Jew that came through their township. It is estimated that the citizens of the area of Le Chambon managed to save the lives of approximately 5,000 Jews. For today's episode, Lady P is joined by WEAPONS' director, Pierre Sauvage, to talk about his approach to the subject. They discuss how he went about putting together this documentary, and his commitment to historical accuracy. And perhaps most importantly, they discuss why it is just as critical to remember the great acts of courage and heroism displayed under these harrowing circumstances as it is to remember the evils of the Holocaust. 

The evening of Wednesday April 15th, 2015 marks the start of Yom HaShoah, or Holocaust Remembrance Day. In recognition of this occasion we thought it would be appropriate to discuss the 29th entry on the Sight and Sound List: Claude Lanzmann's 1985 film, SHOAH. On today's episode, Lady P is joined by her friend, Michael Adams, to talk about Lanzmann's 9 and a half hour documentary, which details the process by which Nazi Germany went about extinguishing the European Jewry. In the discussion they talk about Lanzmann's interview techniques, the way the film is structured, and why SHOAH remains one of the greatest testaments to the power of both journalistic and elegiac filmmaking.

Kali Tal. Issues in Comtemporary Trauma Studies.

Kali Tal. Issues in Comtemporary Trauma Studies.

Esta película es un monumento. Por el tema que aborda –el Holocausto judío–; por la forma en que lo aborda –sin imágenes de archivo y sin música incidental–; por el propósito que la anima: explicarse cómo fue posible un exterminio de tales magnitudes a partir de los detalles técnicos e ingenieriles que movieron esta maquinaria macabra. Preguntando por las minucias, Lanzmann llega a grandes respuestas que buscan servir de testimonio de lo atroz, convencido de que incluso lo más infame es prontamente olvidado si no se hace algo al respecto. Un fresco gigante, lleno de historia oral, de relatos y de persona(je)s inolvidables.