From past to present, from black and white to color

reconstitution of memory of Auschwitz

Authors

  • Rafael Tassi Teixeira Universidade Tuiuti do Paraná, Curitiba, Paraná, Brasil
  • Ana Carolina Lima Santos Universidade Federal de Ouro Preto, Mariana, Minas Gerais, Brasil

DOI:

https://doi.org/10.30962/ec.1925

Keywords:

photography, memory, temporalities, colorization, Holocaust

Abstract

This article examines the construction of mnemonic potency in Faces of Auschwitz, project made by the colorist Marina Amaral that recuperates registration pictures took in the Nazi extermination camp and puts them in color. The work is apprehended by the way in which it reorders and subverts the purpose of original images, switching them from the attempt of subjection to the capacity for commemoration and restitution of Holocaust victims’ memory, based on the vestiges of humanity and pain. As a starting point for the discussion proposed here, the paper explores some portraits, as the one that depicts Czesława Kwoka, produced by the prisoner Wilhelm Brasse and colored by Amaral.

Downloads

Download data is not yet available.

Author Biographies

Rafael Tassi Teixeira, Universidade Tuiuti do Paraná, Curitiba, Paraná, Brasil

Doutor em Sociologia pela Universidad Complutense de Madrid – UCM, Madri, Espanha. Professor Adjunto da Universidade Estadual do Paraná. Líder do grupo de pesquisa Desdobramentos Simbólicos do Espaço Urbano nas Narrativas Audiovisuais – GRUDES. Vicecoordenador do Programa de Pós-Graduação Mestrado e Doutorado em Comunicação e Linguagens da Universidade Tuiuti do Paraná – UTP, Curitiba, Paraná, Brasil.

Ana Carolina Lima Santos, Universidade Federal de Ouro Preto, Mariana, Minas Gerais, Brasil

Doutora em Comunicação pelo Programa de Pós-Graduação em Comunicação da Universidade Federal de Minas Gerais. Mestre em Comunicação e Cultura Contemporâneas pela Universidade Federal da Bahia. Professora do curso de Jornalismo e do Programa de Pós-Graduação em Comunicação da Universidade Federal de Ouro Preto.

References

AGAMBEN, Giorgio. O que resta de Auschwitz (Homo Sacer III). São Paulo: Boitempo, 2008.

AMARAL, Marina. “Color has the power to bring life back to the most important moments”. In: Marina Amaral’s blog, 30 abr. 2016. Disponível em http://www.marinamaral.com/ about. Acesso em 21 nov. 2018.

AMARAL, Marina. “Faces of Auschwitz: Janina Nowak”. In: Marina Amaral’s blog, 3 abr. 2018. Disponível em http://www.marinamaral.com/blog/2018/4/3/faces-of-auschwi tz-janina-nowak. Acesso em 21 nov. 2018.

AMARAL, Marina; JONES, Dan. The colour of time: a new history of the world 1850-1960. London: Apollo, 2018.

BERCITO, Diogo. “Artista brasileira dá cores à foto de vítima de Holocausto”. In: Folha de S. Paulo, 4 abr. 2018. Disponível em: https://www1.folha.uol.com.br/ilustrada/2018/04/ artista-brasileira-da-cores-a-foto-de-vitima-do-holocausto.shtml. Acesso em 21 nov. 2018.

CZESŁAWA KWOKA. In: Faces of Auschwitz. 2018. Disponível em https://facesof auschwitz. com/gallery/czeslawa-kwoka. Acesso em 15 nov. 2018.

DE DUVE, Thierry. “A arte diante do mal radical”. In: Ars, v. 7, n. 13, 2009. Disponível em http://www.revistas.usp.br/ars/article/view/3062. Acesso em 19 dez. 2018.

DIDI-HUBERMAN, Georges. Imágenes pese a todo: memoria visual del Holocausto. Barcelona: Espasa, 2012a.

DIDI-HUBERMAN, Georges. “Quando as imagens tocam o real”. In: Pós, v. 2, n. 4, nov. 2012b. Disponível em eba.ufmg.br/revistapos/index.php/pos/article/view/60.

DIDI-HUBERMAN, Georges. “Devolver uma imagem”. In: ALLOA, Emanuel (org). Pensar a imagem. Belo Horizonte: Editora Autêntica, 2015.

DIDI-HUBERMAN, Georges. Cascas. São Paulo: Editora 34, 2017.

DIDI-HUBERMAN, Georges. “Olhos livres da história”. In: Revista Ícone, v. 16, n. 2, 2018. Disponível em https://periodicos.ufpe.br/revistas/icone/article/view/238900. Acesso em 21 nov. 2018.

EDWARDS, Theresa; SCHREINER, Lori. Painting Czesława Kwoka: honoring children of the Holocaust. E nglewood: Unbound Content, 2012.

FACES OF AUSCHWITZ. 2018. Disponível em https://facesofauschwitz.com. Acesso em 15 nov. 2018.

FLUSSER, Vilém. O mundo codificado: por uma filosofia do design e da comunicação. São
Paulo: Cosac Naify, 2007.

HILBERG, Raul. La politique de la mémoire. Paris: Gallimard, 1996.

HIRSH, Marianne. The generation of postmemory: writing and visual culture after the Holocaust. New York: Columbia University Press, 2012.

KEANE, Fergal. “Returning to Auschwitz: photographs from hell”. In: Mail on Sunday, 7 abr. 2007. Disponível em https://www.mailonsunday.co.uk/home/moslive/article-447045/ Returning-Auschwitz-Photographs-Hell.html#. Acesso em 21 nov. 2018.

LÉVINAS, Emmanuel. Ética e infinito. Lisboa: Edições 70, 2010.

LINFIELD, Susie. “Warsaw, Lodz, Auschwitz: in the waiting room of death”. In: The cruel radiance: photography and political violence. Chicago: The University of Chicago Press, 2012.

ŁYSAK, Tomasz. “Wilhelm Brasse’s photographs from Auschwitz: testimony and photography in Irek Dobrowolski’s The portraitist”. In: KOBRYNSKYY, Oleksandr; BAYER, Gerd (org). Holocaust cinema in the twenty-first century: memory, images and the ethics of representation. New York: Columbia Universit Press, 2015.

NANCY, Jean Luc. “Pele essencial”. In: O percevejo, v. 6, n 1, jan./jun. 2014. Disponível em http://www.seer.unirio.br/index.php/opercevejoonline/article/viewFile/5067/4506. Acesso em 11 jul. 2019.

PULS, Mauricio. “Cor ou preto e branco? Razões de uma escolha”. In: Zum, 11 mar. 2016. Disponível em https://revistazum.com.br/radar/cor-ou-pb. Acesso em 22 nov. 2018.

RANCIÈRE, Jacques. “Será que a arte resiste a alguma coisa?” In: LINS, Daniel (org). Nietzsche, Deleuze, arte e resistência. Fortaleza: Forense Universitária, 2007.

REGISTRATION PICTURES AND MARKING SYSTEM. In: Faces of Auschwitz. 2018. Disponível em https://facesofauschwitz.com/registration-pictures. Acesso em 15 nov. 2018.

RICOEUR, Paul. A memória, a história e o esquecimento. Campinas: Editora da Unicamp, 2007.

SANCHEZ-BIOSCA, Vicente. Miradas criminales, ojos de víctima: imágenes de la aflicción en Camboya. Buenos Aires: Prometeo, 2017.

YOUNG, James. The texture of memory: holocaust memorials and meanings. New Haven: Yale University Press, 1993.

ZELIZER, Barbie. Remembering to forget: holocaust memory through the camera’s eye. Chicago: University of Chicago Press, 1998.

Downloads

Published

08-04-2020

How to Cite

Teixeira, R. T., & Lima Santos, A. C. . (2020). From past to present, from black and white to color: reconstitution of memory of Auschwitz. E-Compós, 23. https://doi.org/10.30962/ec.1925

Issue

Vol. 23 (2020)

Section

Artigos Originais

License

The submission of originals to this journal implies the transfer, by the authors, of the printed and digital publication rights. The copyrights for the published articles belong to the author, with the rights of the journal over the first publication. The authors can only use the same results in other publications, clearly indicating this journal as the source of the original publication. Because we are an open-access journal, the free-of-charge,educational, scientific, and non-commercial use of the papers is allowed, as long as the source is cited.

Authorship

Any person who has effectively participated in the conception of the study, the development of the experimental part, the analysis and interpretation of data and the final wording, is considered as an author. By submitting an article for publication in E-Compós Journal, the author agrees with the following terms: 1. The author keeps the rights on the article, but its publication in the journal automatically implies the full and exclusive disposal of the copyright rights for the first edition, without payment. 2. The ideas and opinions expressed in the article are the sole responsibility of the author, not necessarily reflecting the views of the journal. 3. After the first publication, the author is authorized to take additional contracts, independent of the journal, for the dissemination of the paper by other means (e.g. when publishing in the institutional repository or as a book chapter), provided that the complete citation of the original publication. 4. The author of a published article is allowed and is stimulated to distribute his work online, always with the proper citation of the first edition.

Conflicts of interest and research ethics

If the developed research or the publication of the article may raise doubts as to potential conflicts of interest, the author should declare, in a final note, that no links to funding bodies have been omitted, as well as to commercial or political institutions. Similarly, the institution to which the author is bound should be mentioned, as well as others that may have collaborated in the execution of the study, evidencing that there are no conflicts of interest with the result already presented. It is also necessary to inform that the interviews and experiences involving human beings have obeyed the established ethical procedures for scientific research. The names and addresses informed in this journal will be used exclusively for the services provided by this publication, not made available for other purposes or to third parties. The copyrights belong exclusively to the authors. The licensing rights used by the journal consist in the Creative Commons Attribution 4.0 (CC BY 4.0) license: sharing (copying and distribution of the material in any media or format) and adaptation (remix, transformation and creation of material from licensed content for any purposes, including commercial) are permitted.