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Traces the development of the famous photo of the little Jewish boy in the Warsaw ghetto, holding up his hands on the way to deportation, into a symbol of the Shoah. The photo was originally part of a report composed in 1943 by General Stroop on the liquidation of the ghetto and suppression of the uprising. (Pp. 15-42 contain photographs of the Warsaw ghetto from the Stroop report.) The picture of the boy appeared during the Nuremberg Trials, but then fell into oblivion for almost a decade. In France it reached public awareness through the films of Alain Resnais, "Nuit et brouillard" (1956) and Fre de ric Rossif, "Le temps du ghetto" (1961). The general tendency during the first two postwar decades to focus on wartime heroism and resistance caused the photo of the boy to disappear from public iconography. However, from the end of the 1960s, the boy began to replace the heroes. Discusses widespread use of the image in various contexts since the 1980s, and how it has been reframed to serve as an image of compassion, stripped from all reference to the perpetrator. Since the second Palestinian Intifada in 2000, variations of the image have been used as icons in anti-Zionist and antisemitic propaganda. Mentions the manipulative use of footage of Mohammed al-Dura, a Palestinian boy supposedly killed by Israeli soldiers in Gaza in 2000, as an example.… (altro)
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"La fotografia del bambino di Varsavia è vittima della sua grande efficacia. Nell'era multimediale planetaria, un piccolo clic ci fa passare da una vittima all'altra: clic! Mohammed al-Durah cancella il bambino di Varsavia; clic! È il turno del piccolo Eliàn Gonzàlez... La confusione sentimentale e politica è totale. ...(fonte: Google Books)
Dati dalle informazioni generali francesi.Modifica per tradurlo nella tua lingua.
(Introduction)
L’espèce humaine s’attarde obstinément dans la caverne de Platon et continue, atavisme ancestral, à faire ses délices des simples images de la vérité.
Susan Sontag, Sur la photographie (1973)
Dedica
Dati dalle informazioni generali francesi.Modifica per tradurlo nella tua lingua.
À mes petits-enfants
Incipit
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Remerciements
Sous différentes formes, et à tous les stades de sa confection, ce livre a bénéficié de nombreux concours. Depuis les États-Unis, la Grande-Bretagne et l’Allemagne, Thomas Conner, Snezhana Dimitrova et Rainer Bendick furent des pourvoyeurs efficaces et infatigables de documentation ; Dominique Triaire a démélé les mystères de la paperasse émanant d’un service d’archives polonaises ; Richard Raskin m’a gentiment aidé à mettre au point le manuscrit final ; Yannis Thanassekos, directeur de la fondation Auschwitz de Bruxelles, m’a généreusement ouvert les fonds spécialisés de la fondation et ses collaborateurs ont fort aimablement tout fait pour faciliter mon travail. [...]
Introduction
Qui n’a jamais vu le regard terrorisé de cet enfant juif menacé par un soldat allemand durant la Seconde Guerre mondiale ? Livres et manuels d’histoire, magazines, couloirs du métro parisien2, documentaires télévisuels, œuvres d’art, sites Internet, jamais sans doute l’image de ce garçonnet n’a été aussi présente qu’aujourd’hui. Et comme beaucoup, je connais cette image ; je connais cet enfant…
De vue.
[...]
Citazioni
Ultime parole
Nota di disambiguazione
Redattore editoriale
Elogi
Lingua originale
Dati dalle informazioni generali francesi.Modifica per tradurlo nella tua lingua.
Traces the development of the famous photo of the little Jewish boy in the Warsaw ghetto, holding up his hands on the way to deportation, into a symbol of the Shoah. The photo was originally part of a report composed in 1943 by General Stroop on the liquidation of the ghetto and suppression of the uprising. (Pp. 15-42 contain photographs of the Warsaw ghetto from the Stroop report.) The picture of the boy appeared during the Nuremberg Trials, but then fell into oblivion for almost a decade. In France it reached public awareness through the films of Alain Resnais, "Nuit et brouillard" (1956) and Fre de ric Rossif, "Le temps du ghetto" (1961). The general tendency during the first two postwar decades to focus on wartime heroism and resistance caused the photo of the boy to disappear from public iconography. However, from the end of the 1960s, the boy began to replace the heroes. Discusses widespread use of the image in various contexts since the 1980s, and how it has been reframed to serve as an image of compassion, stripped from all reference to the perpetrator. Since the second Palestinian Intifada in 2000, variations of the image have been used as icons in anti-Zionist and antisemitic propaganda. Mentions the manipulative use of footage of Mohammed al-Dura, a Palestinian boy supposedly killed by Israeli soldiers in Gaza in 2000, as an example.
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