Rethinking Holocaust Representation: Reflections on Rex Bloomstein's<i>KZ</i>

Hodgkinson, Sarah

doi:10.1111/hojo.12144

Cited by 3 publications

(2 citation statements)

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“…Holocaust Memorial Museum in Washington, D.C., contains more than 5000 artifacts (photographs, uniforms, letters, and a rail car used to take Jewish prisoners to the death camps), as this concern with replication is central to Holocaust memory. Hodgkinson [ 189 ] identified the moral dilemmas of Holocaust representation, such as its commodification for entertainment and tourism. However, according to Wright [ 116 ], if the brutal and murderous nature of humans continues, the potential for tourism in which death is a product of entertainment for a wealthy elite is a reality in the future.…”

Section: Discussionmentioning

confidence: 99%

Dark tourism, the holocaust, and well-being: A systematic review

Magano

Brea

Leite

2023

Heliyon

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Section: Discussionmentioning

confidence: 99%

Dark tourism, the holocaust, and well-being: A systematic review

Magano

Brea

Leite

2023

Heliyon

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“…While these and other lighter dark heritage attractions may appear shocking and tasteless to some, they are often promoted within their local communities, and largely prompted by increased visitor interests in opportunities to re-live and engage with dark heritage (Hodgkinson, 2015). Still, given their controversial nature, interpretation for lighter dark heritage attractions is often challenged by tensions between ethical concerns and commercial needs, balancing the complex relationship between authenticity and interpretation, and the selection and framing of history.…”

Section: Dark Heritage Interpretationmentioning

confidence: 99%

Interpretation design and management: creating dark heritage edutainment experiences

2022

The Customer and Tourist Experience? Conceptual Convergence or Divergence

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Existing tourism literature has explored the tourist experience through various aspects of interpretation, including its use for creating the visitor experience, visitor management, stimulating visitor interest and learning, and also the challenges in balancing interpretation efforts with concerns for historical accuracy. These efforts have provided a strong understanding of interpretation as a concept and practice, specifically in relation to natural and heritage tourism, and within museums. However, research remains under-developed in relation to interpretation of dark heritage. This chapter therefore reviews the development and processes of interpretation. It further reviews how interpretation is designed and managed within dark heritage attractions considered lighter due to their edutainment interpretation agenda. In doing so, this chapter contributes to both the research and practice of interpretation within both heritage and dark heritage contexts.

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Tourists as post-witnesses in documentary film: Sergei Loznitsa’s Austerlitz (2016) and Rex Bloomstein’s KZ (2006)

Clarke

2020

OSLS

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This article compares two documentary films that address an apparent crisis of post-witnessing at memorials that commemorate the victims of National Socialism. In the context of contemporary debates about appropriate behaviour for tourists at sites of “dark” or “difficult” heritage, Sergei Loznitsa’s Austerlitz (2016) and Rex Bloomstein’s KZ (2006) take very different approaches to observing the act of visiting concentration camp memorials. Whereas Loznitsa adopts an observational documentary mode, constructing a cultural hierarchy between the touristic observer and the cinematic observer at memorials in Germany, Bloomstein’s film uses a participatory mode to prompt the viewer to consider the complexities of the affective-discursive practice of tourists engaging with the suffering of victims at the Mauthausen memorial in Austria. The article argues that Bloomstein’s decision to adopt a participatory approach is more productive in allowing us to think about the significance of responses to victims’ suffering at such sites. Este artículo compara dos documentales que giran en torno a una aparente crisis del post-testimonio en monumentos a las víctimas del nacionalsocialismo. En el contexto del debate actual sobre cómo deben comportarse los turistas en lugares de herencia “oscura” o “difícil”, Austerlitz (2016), de Sergei Loznitsa, y KZ (2006), de Rex Bloomstein, observan de forma muy diferente el acto de visitar antiguos campos de concentración. Mientras Loznitsa adopta un modo de observación documental, construyendo una jerarquía cultural entre el observador turístico y el cinemático, Bloomstein opta por un modo participativo para exhortar al espectador a considerar las complejidades de las prácticas afectivo-discursivas de los turistas que se comprometen con el sufrimiento de las víctimas. El artículo argumenta que la decisión de Bloomstein de adoptar un enfoque participativo es más productivo a la hora de propiciar nuestra reflexión sobre el significado de las respuestas al sufrimiento de las víctimas en esos lugares.

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Rethinking Holocaust Representation: Reflections on Rex Bloomstein'sKZ

Cited by 3 publications

References 32 publications

Dark tourism, the holocaust, and well-being: A systematic review

Dark tourism, the holocaust, and well-being: A systematic review

Interpretation design and management: creating dark heritage edutainment experiences

Tourists as post-witnesses in documentary film: Sergei Loznitsa’s Austerlitz (2016) and Rex Bloomstein’s KZ (2006)

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