Publication details
„The Duration of the Film Was Determined by the Time from Arrival to Gassing“ : Affectivity and Dual Violence in Martin Ježek’s Heidegger in Auschwitz (2016)
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| Year of publication | 2026 |
| Type | Appeared in Conference without Proceedings |
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| Description | In scholarly discourse on the Holocaust, the notion of its unrepresentability frequently emerges – the idea that the events in question cannot be adequately depicted in art. Nevertheless, there exist works that engage with this genocide of the Jews, albeit not through an effort to represent it faithfully and plausibly, but rather through the use of affective and aggressive expressive means that imply its horror and alterity. Among others, this approach is adopted by Martin Ježek in his experimental adaptation Heidegger in Auschwitz (2016), which attacks the viewer through stroboscopic flicker and an intense sonic track. The implied violence is thus enacted upon the bodies of the audience members, while simultaneously being inscribed upon the material body of the analog film itself, which Ježek has deliberately and manually damaged. In my presentation, I will address this dual violence with particular attention to ongoing debates concerning the possibilities of art in relation to the Holocaust. |
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