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Daniel Blaufuks’s video Als Ob/As If formally interrogates the history of Holocaust imagery using a close visual examination of the 1944 “Staged Nazi Film” shot in Thereseinstadt. Layering his footage from present-day Terezín with a number of earlier films and television shows shot at or about the Nazi concentration camp, he contemplates the role of the image, both still and moving, in the creation of memory and history of the Holocaust. His video and phototextual book connect to literary explorations of the Czech concentration camp—by Georges Perec, W. G. Sebald, and Jiří Weil—as well as cinematic documentaries about the Nazi murder of European Jews by Alain Resnais, Claude Lanzmann, and Jean-Luc Godard. By focusing on contemporary Terezín, Blaufuks also brings to light aspects of memorialization within post-totalitarian societies investigated by filmmakers Petra Epperlein and Chantal Akerman, as well as by scholars of the Holocaust and post-Soviet Eastern Europe.
Daniel Blaufuks’s video Als Ob/As If formally interrogates the history of Holocaust imagery using a close visual examination of the 1944 “Staged Nazi Film” shot in Thereseinstadt. Layering his footage from present-day Terezín with a number of earlier films and television shows shot at or about the Nazi concentration camp, he contemplates the role of the image, both still and moving, in the creation of memory and history of the Holocaust. His video and phototextual book connect to literary explorations of the Czech concentration camp—by Georges Perec, W. G. Sebald, and Jiří Weil—as well as cinematic documentaries about the Nazi murder of European Jews by Alain Resnais, Claude Lanzmann, and Jean-Luc Godard. By focusing on contemporary Terezín, Blaufuks also brings to light aspects of memorialization within post-totalitarian societies investigated by filmmakers Petra Epperlein and Chantal Akerman, as well as by scholars of the Holocaust and post-Soviet Eastern Europe.
Towards the end of his film essay Histoire(s) du cinéma Jean-Luc Godard calls himself an "enemy of our times", of "the totalitarianism of the present as applied mechanically every day more oppressive on a planetary scale." The article regards Histoire(s) du cinéma (1988-1998) as "a thinking form" that tries to resist the synchronizing, standardizing time of global capital, the pervasive uniformity of the global super-present, brought about by today's televisual and digital communications, which threatens to trivialise the different processes of memory and history, and art and culture in general. According to philosopher Bernard Stiegler, the final stage of capitalism is the control and synchronization of what former CEO of TF1 Patrick le Lay called "available brain time". The paper argues that Godard's work opposes this control and synchronization of our minds through an aesthetics of contemporaneity. The argument is based on the development of a theoretical framework that combines recent theories of contemporaneity with theories of image-politics. Focusing on the interrelation of the individual, the social and the media environments, the paper deals with Godard's image-political creation of temporal contemporaneity through a montage of clips of old films and newsreels, photographs, stills, images of paintings, new footage, advertisements, music, sound and voice recordings, textual citation, narration and commentary.
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