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This book explores the diverse range of practical and theoretical
challenges and possibilities that digital technologies and
platforms pose for Holocaust memory, education and research. From
social media to virtual reality, 360-degree imaging to machine
learning, there can be no doubt that digital media penetrate
practice in these fields. As the Holocaust moves beyond living
memory towards solely mediated memory, it is imperative that we pay
critical attention to the way digital technologies are shaping
public memory and education and research. Bringing together the
voices of heritage and educational professionals, and academics
from the arts and humanities and the social sciences, this
interdisciplinary collection explores the practicalities of
creating digital Holocaust projects, the educational value of such
initiatives, and considers the extent to which digital technologies
change the way we remember, learn about and research the Holocaust,
thinking through issues such as ethics, embodiment, agency,
community, and immersion. At its core, this volume interrogates the
extent to which digital interventions in these fields mark an
epochal shift in Holocaust memory, education and research, or
whether they continue to be shaped by long-standing debates and
guidelines developed in the broadcast era.
This book explores the growing trend of intermediality in cinematic
representations of the Holocaust. It turns to the in-betweens that
characterise the cinematic experience to discover how the different
elements involved in film and its viewing collaborate to produce
Holocaust memory. Cinematic Intermedialities is a work of
film-philosophy that places a number of different forms of screen
media, such as films that reassemble archive footage, animations,
apps and museum installations, in dialogue with the writing of
Deleuze and Guattari, art critic-cum-philosopher Georges
Didi-Huberman and film phenomenologies. The result is a careful and
unique examination of how Holocaust memory can emerge from the
relationship between different media, objects and bodies during the
film experience. This work challenges the existing concentration on
representation in writing about Holocaust films, turning instead to
the materials of screen works and the spectatorial experience to
highlight the powerful contribution of the cinematic to Holocaust
memory.
This book explores the diverse range of practical and theoretical
challenges and possibilities that digital technologies and
platforms pose for Holocaust memory, education and research. From
social media to virtual reality, 360-degree imaging to machine
learning, there can be no doubt that digital media penetrate
practice in these fields. As the Holocaust moves beyond living
memory towards solely mediated memory, it is imperative that we pay
critical attention to the way digital technologies are shaping
public memory and education and research. Bringing together the
voices of heritage and educational professionals, and academics
from the arts and humanities and the social sciences, this
interdisciplinary collection explores the practicalities of
creating digital Holocaust projects, the educational value of such
initiatives, and considers the extent to which digital technologies
change the way we remember, learn about and research the Holocaust,
thinking through issues such as ethics, embodiment, agency,
community, and immersion. At its core, this volume interrogates the
extent to which digital interventions in these fields mark an
epochal shift in Holocaust memory, education and research, or
whether they continue to be shaped by long-standing debates and
guidelines developed in the broadcast era.
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