![]() Anahtar Kelimeler: Soykırım, Holocaust, Ön yargı, Hans-Georg Gadamer, Differend, Film Aksine yönetmenlerin kendi tecrübelerini hikâyeleştirmek ya da olayın önemine işaret etmek istediklerinde iki aşamalı bir dilsel boşluğun açığa çıktığına değinilecektir. Ancak dikkat edilmelidir ki bu çalışma, herhangi bir kategorideki yönetmenlerin filmlerinin Holocoust’u tasvir ve temsil etmesi bakımından diğer kategorilerdeki filmlerden daha iyi olduğunu iddia etmeyecektir. Bu şekliyle, makalenin ana argümanına göre film yönetmeninin yaşadığı zaman dilimi, kendi ön yargılarının oluşumu ve Holocaust’a tarihsel bir vaka olarak yaklaşımı bağlamında, çalışmasını değerlendirebileceğimiz kıstaslardan biri olacaktır. Bu minvalde, bir olayın zamanı temel alınarak insanların şu şekilde sınıflandırılması düşünülebilir: Kurbanlar ve hayatta kalanlar, hayatta kalmış olanların soykırımdan sonra doğan çocukları, olaya ve hayatta kalanlara şahit olan diğer insanlar ve soykırımdan sonra doğanlar. Zira kişinin zamansallığı, Holocaust gibi bir tarihsel olaya yönelik verdiği/vereceği sanatsal tepkisini kaçınılmaz olarak şekillendirir. Öz: Bu makalenin amacı, ön yargı ve tarihsellik kavramlarının bir soykırım filmi yönetmeninin yaşadığı zaman dilimi ile olan yakın ilişkisi üzerinde durmaktır. Keywords: Genocide, Holocaust, Prejudice, Hans-Georg Gadamer, Differend, Film. Instead, it will be stated that there appears a two-stage linguistic gap among human beings when directors narrate their own experience or highlight the significance of the event per se. But it must be noted that this essay will not argue that films of the directors belonging to any of the particular categories are better representations of the Holocaust than the films of the others. In this way, according to the main argument of this essay, the time period the film director lives in relative to the event is one of the criteria for evaluating their artwork in virtue of the formation of their prejudices and of their approach to the Holocaust as a historical event. In this regard, depending on such an event, a categorization of people will be offered: victims and survivors, survivors’ children who born after genocide, witnesses of victims and survivors, and, finally, people born after the genocide. Both Gerz and Fink use barely visible traces as a constitutive middle ground for creator and reader / viewer, to demonstrate that the most powerful of visual capacities must be ceded to imagination.Ībstract: This article’s aim is to focus on the close relationship that exists between the notions of prejudice and historicity and the time in which a film director of genocide lives and the extent to which their temporality unavoidably colors their artistic response to a historical event, such as the Holocaust. ![]() Both testimony and photograph perpetuate what cannot be seen, in a manoeuvre that reminds one of Jochen Gerz’s “vanishing memorial,” organically turning the invisible existence of the dead into cobble stones bearing the names of Jewish cemeteries upside down, so we may-or may not-be stepping on a replicated grave-stone. Yet the testimony of the last survivor of the village is as fragile and problematic as the photograph is prone to manipulations. Fink nonetheless manages to use this photo in her narrative and turn the existence of the traces’ owners into a tangible presence. Yet the photo described by a witness to Nazi atrocities is perplexing: taken shortly after the murder of the village’s Jews, it is almost completely empty, since the only visible signs of life are the footmarks they left on the snow. Fink relies on the primacy given to the visual sense in addition, she relies on a pervasive basic assumption regarding photography, namely that photos are faithful to the reality they capture, and correspondingly are endowed with a truth value. ABSTRACT: Ida Fink’s short story “Traces” is a prime example of the conjuring power of a narrative that makes use of a photograph. ![]()
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