Museographic Holocaust

In this book, the author describes the long process it takes to create a national museum that will commemorate the Holocaust. He covers issues such as, the location of it, the design and construction aspects of the museum building. He informs readers about how they’ve tried to represent the Holocaust through the museum with sensitivity. I will use specific facts from this book to show that this museum was built with the help of many and required a lot of thought into it. I will show that this museum does in fact show sensitivity to an individual.

"Introduction to the Holocaust." United States Holocaust Memorial Museum. United States Holocaust Memorial Council, n.d. Web. 18 Mar. 2016.

The Holocaust happening and the art that came with the horrors, we can use the art for proof and to help us understand. We have many examples of brave men and women showing us in different ways. Yet, we will never know what the prisoners went through and what they felt. With all the art of the Holocaust, we have proof that it did happened and the horrors that the prisoners faced, young to old. With all this knowledge we will never forget about the ones who died and suffered. We have the artist art that shows us their story and what they went

In creating a monument and memorializing an event, the group or agency should consider its importance in bringing together a community, thus providing a sense of attachment. In creating public monuments, it furnishes “a face-to-face encounter in a specially valued place set aside for collective gathering” (Source A). Essentially connecting the past and the present, monuments stand as an absolute reminder of our past. Not only does it serve as a reminder, but it also acts as a holy site as people come together to experience the monument in a simple but powerful way. Monuments establish the sense of community in both a real and imagined fashion. Connections between the people among themselves visiting the authentic public space, and connections between people and history are made. As Source A states, “The public monument speaks to a deep need for attachment that can be met only in a real place, where the imagined community actually materializes.” With memorializing an event, it is important that the emotional connection built off of its fundamental historical significance is considered. Based on Source E, controversy over not only just creating the monument, but also the idea of memorializing the Holocaust was deliberated. Because the United States made little to no effort in preventing the Holocaust, the memorialization of the event drew protest as opponents felt as if this act of remembrance would be offensive emotionally. From this, it is clear that it is important to assess the emotional underlying behind an event and how it could affect communities consequently. Memorializing an event should connect a community, not divide

The first text that shows how literature helps us remember the past and honor the victims of the Holocaust, is “The Grand Mosque of Paris” an explanatory text by Karen Ruelle. This essay demonstrates The Grand Mosque of Paris as a fortress-like structure the size of a city block that was built in 1926 and turned into an ideal hiding place and escape route for Jew’s on the run, “ Some of those children found refuge in the Grand Mosque of Paris, where heroic Muslims saved Jews from the Nazis.”(Mosque 92) This quote shows that even children were taken to concentration camps, but some of the children found refuge at The Grand Mosque of Paris with the help of Nazi opposing Muslims. These Muslims put their own lives in danger so that they could save Jews from being persecuted by the Nazis, “Many who participated were themselves arrested and deported.” (Mosque 93). This quote shows that these Muslims put

The United States Holocaust Memorial Museum is an institution to remind us about the ones who were murdered in the Holocaust. “Tell Them We Remember: The Story of the Holocaust” is a nonfiction book written by Susan D. Bachrach and it informs the reader about the tragic incidents that occurred during the Holocaust. Honestly, I never fully understood what the Holocaust was and I chose to read this book to learn more about it.

The Holocaust is remembered as one of the most vicious events in history. We have gotten the chance to try and comprehend the pain that such evil genocide left on many, through those who witnessed it. Who sorely revive it, in an attempt to make sure that the world never forgets the millions of Jews that were unjustly tortured and murdered.

Despite these challenges it’s important recognize the vast improvements and efforts teachers all over Germany are making to better educate their students about the Holocaust. For example, teachers help to foster empathy and personalize the Holocaust through the reading and analysis of contemporary Holocaust literature and non-fiction (e.g. writings by Primo Levi, Imre Kertescz, and Günter Grass). These works serve to not only represent he victims of the Holocaust but also the bystanders, perpetrators, and their descendants which help to communicate the German guilt that is so often left out of public discourse. Additionally, many teachers use artwork by Holocaust victims to allow students to visualize the suffferings endured during the Holocaust and raise questions of what the artists were trying to convey through the art (Holocaust Task Force). More interactive components have be incorporated into modern Holocaust education such as visits to former concentration camps and guest speakers who were often Holocaust survivors or community members alive during WWII. Through these approaches teachers are providing not only

In the article, “America and the Memory of the Holocaust, 1950-1965”, Deborah E. Lipstadt writes about, throughout the entirety of her article, of the emergence of the Holocaust on the American agenda for both the non-jewish people and the jewish people during the following years of the second world war. Throughout the 1950’s, and after the end of the second world war in 1939, the topic of the Holocaust was barely on the jewish communal or theological agenda, In contrast to today, where the topic of the Holocaust is often talked about by non-jewish or any kinds of people. As well as during in the 1950’s and 1960’s, there was a very few number of commemorations for the event of the Holocaust in the United States of America; these commemorations

A little school in Chattanooga, Tennessee with a small idea of collecting paper clips to represent the Jews killed in the Holocaust turned into a worldwide phenomenon. Students in the eighth grade at Whitwell Middle School were learning about the Holocaust and wanted to honor the Jews by collecting six million paper clips for every single one of them. To date they have been sent over 30 billion paper clips from around the world. They have built a beautiful authentic memorial that is located at their school. This memorial best describes and represents this tragic event.

I chose to visit the Saint Louis Holocaust Museum for my independent field trip on April 6, 2016 to get out of my typical comfort zone and learn about a specific group of people that endured the largest genocide in recorded history. Upon entering the building, I was shocked to see the number of uniforms and other items that were recovered from World War II. This was the first thing that really set the tone for me and put me in the right emotional state to think about the fact that these are real families and children that were murdered simply because the Nazi’s wanted to. A few of the numbers that really shocked me include, at least six million Jewish were killed, thirteen percent of the population of Russia was wiped out, and a grand total of seventy to eighty-five million people were killed in WW2 (3-4% of the world’s population).

While there are many surviving documents from the Holocaust, arguably the most important sources are witness testimonies, which are accessible to us through the medium of art. In chapter one “I am a Camera” in Depiction and Interpretation: The Influence of the Holocaust on the Visual Arts, Ziva Amishai-Maisels discusses two categories of artists: “inmates” who were actual witnesses to the atrocities, and “non-inmates”. In this essay, I will explore and contrast the ways in which inmates and non-inmates represented the Holocaust and the Jewish people; for inmate artists, their stylistic choices were influenced by their motivation to resist dehumanization and maintain their dignity by using these works to affirm their life, and non-inmate subject matter reflects themes such as anger towards Hitler and Jewish resistance. I will contrast non-inmate artists Max Weber and William Gropper with inmate artists Bedrich Fritta and Leo Haas to argue that while some may feel that there is no way that Holocaust art can represent what life was like for those who lived through the Holocaust, art by inmates is able to provide an in-depth understanding of Holocaust experience in ways that non-inmate art cannot.

Regularly occurring within a historical narrative is the prominence of non textual documentation through the expression of symbols, iconography, and emotional memory. Inherently representational, symbols are used to add a dimension in to a narrative. In the case of the Holocaust, symbols are used to materially express the nearly unfathomably reality of its events. But, what do we do with often emotionally charged perceptions of history? Symbols can be used as evidence, and as a way to connect the past to the present commemorating the time period in which they encapsulate. But symbols are culturally created, as objects are assigned a meaning often during but more importantly after events have passed. In the case of the Holocaust, the train

The inherent result of a massive event in human history is that those involved have many stories, lessons, and testimonials to pass on to others. The Holocaust, perhaps, has one of the biggest collection of testimonials and facts given via the word of mouth or writings out of any singular event. Survivors from all over Europe have given their thoughts for decades now, and there’s no shortage of places to find them.

Holocaust and the Moving Image: representations in film and television since 1933, is a collection of essays that grew out of the 2001, Holocaust, Genocide, and the Moving Image: Film and Television Representations Since 1933 symposium held at the Imperial War Museum in London. The conference, was designed to address the historic, social, educational, and psychological relationships bound to the experiences of the Holocaust and film, while reaching forward to actualize the knowledge and expertise that could and should be shared by an international community of Holocaust film scholars. Realizing that film “… has helped create a wider awareness of the Holocaust … Judith Doneson claims that film has become so effective (that) … It is now a part of the nation’s cultural memory … remarkable … in a country (the United States) where the Holocaust is a ‘refugee’ event (Haggith and Newman 8).” André Colombat, Dean of International Programs at Loyola University holds that film “has been an ‘exceptional media to fight antisemitism and bigotry (Haggith and Newman 8).” The views of these scholars are a strong representation of the reasons for the compilation of essays that go to make up Holocaust and the Moving Image.