Shoah Selfies, Shoah Selfie Shaming, and Social Photography in Sergei Loznitsa's Austerlitz (2016).
In the age of social media, controversy has regularly erupted when tourists post inappropriate photographs of themselves at Holocaust memorial sites to their social media feeds. These "Shoah selfies" subsequently trigger vitriolic online shaming when outraged, self-appointed defenders of Holocaust m...
| Publicado en: | Shofar: An Interdisciplinary Journal of Jewish Studies Vol. 39; no. 2; pp. 1 - 34 |
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| Formato: | Artículo |
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Purdue University Press
Summer2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=152141330&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 152141330 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08828539 6A0 jtl: Shofar: An Interdisciplinary Journal of Jewish Studies issn: 08828539 maglogo: N pubinfo: dt: Summer2021 vid: 39 iid: 2 pid: 19334 pub: Purdue University Press artinfo: ui: 152141330 10.1353/sho.2021.0027 ppf: 1 ppct: 33 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.7MB tig: atl: Shoah Selfies, Shoah Selfie Shaming, and Social Photography in Sergei Loznitsa's Austerlitz (2016). aug: au: Magilow, Daniel H. su: Selfies Photography Gender Holocaust memorials Shame Collective memory sug: subj: Selfies Photography Gender Holocaust memorials Shame Collective memory keyword: documentary Holocaust photography selfies social media ab: In the age of social media, controversy has regularly erupted when tourists post inappropriate photographs of themselves at Holocaust memorial sites to their social media feeds. These "Shoah selfies" subsequently trigger vitriolic online shaming when outraged, self-appointed defenders of Holocaust memory accuse selfie-takers of desecrating the memory of the dead. But while these images are usually dismissed as evidence of bad taste and a crisis of Holocaust memory among younger generations, this paper argues that both Shoah selfies and Shoah selfie shaming fulfill other, more nuanced functions. Through a reading of Ukrainian filmmaker Sergei Losnitza's 2016 observational documentary Austerlitz , which depicts how tourists behave and photograph on a typical summer afternoon at the Sachsenhausen concentration camp, I argue that however offensive they may be, Shoah selfies must be understood as examples of "social photographs." In media theorist Nathan Jurgenson's definition, a "social photograph" is a digital image whose "existence as a stand-alone media object is subordinate to its existence as a unit of communication." Within social media streams, they contribute to the photographer's ongoing narrative of self-fashioning. They also typify the rise of what Diana Popescu terms "post-witnessing," the urge to "investigate the past by undertaking a real and not only an imaginary journey of discovery" at Holocaust sites. As Shoah selfies show how new media have effected tremendous shifts in Holocaust memory, the overrepresentation of young women and effeminate men as targets of shaming show how this response to offensive Holocaust photography concurrently sustains oppressive gender hierarchies. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Shofar: An Interdisciplinary Journal of Jewish Studies is the property of Purdue University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Shofar: An Interdisciplinary Journal of Jewish Studies holder: Purdue University Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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