Mise-en-scène, Aesthetics and theShoah: The Ambiguous Portrayal of a Female Perpetrator inThe Reader

Brunetaux, Audrey

doi:10.1080/17504902.2011.11087275

Cited by 1 publication

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“…It is here, however, where film departs from both: ‘Artists, filmmakers and authors, are not, by any means, historian and archivists. Their perspectives, methods and strategies to represent a historical event … give a whole new dimension to History without desecrating the events themselves’ (Brunetaux, 2011: 107). The persistent portrayal of female survivors as victims of sexualized violence attests to the ubiquity of such violence in the Holocaust.…”

Section: Resultsmentioning

confidence: 99%

Visual responses: Women’s experience of sexual violence as represented in Israeli Holocaust-related cinema

Meiri

2015

European Journal of Women's Studies

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This article explores the function of Israeli narrative films' persistent, albeit marginal, portrayal of women as victims of sexual violence during the Holocaust. While the marginalization of such characters may be attributed to the difficulty of representing sexually-related trauma/post-trauma, their portrayal attests both to the ubiquity of sexually-related crimes in the Holocaust and to its aftermath: namely, the persistence of women's trauma. The first of the two waves of 'retro films' examined here evinces the importance of the visual, cinematic representation of women's trauma. Its main function is to legitimize its disclosure through cinematic aesthetic/artistic mediation, for sexual violence was a crime committed against helpless victims. The second wave includes films made from the point of view of 'the second generation', and explores the topic further by dealing with the transmission of post-traumatic symptoms of women's trauma to the second generation.

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Section: Resultsmentioning

confidence: 99%