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Short series of events on the Holocaust on film

"Visualizing Atrocities: The Holocaust on Film," a short series organized by the Program in Russian, East European, and Eurasian Studies, will be held on March 4 and March 6.


Tuesday, March 4, 2014
“Frozen Time, Liquid Memories (1942-2012)” by Dragan Kujundžić
Film screening and conversation with the film director

4:30 – 6 p.m.
100 Jones Hall

This new film by Kujundžić commemorates two round-ups of Jews, one in Novi Sad (Serbia) in January 1942, and the other in Paris in July 1942. Filmed on location in Novi Sad, Serbia, and Paris, Orleans, and Avignon, France. In Serbian and French, with English subtitles.


Dragan Kujundžić is a professor of film and media studies, Jewish, Germanic, and Slavic studies, at the University of Florida. He is the author of numerous articles in critical theory, deconstruction, and literary criticism. He has edited Deconstruction, A Merry Science (1985); Khoraographies for Jacques Derrida on July 15, 2000 (2000); Who or What—Jacques Derrida (2008); and two volumes on J. Hillis Miller, J (2005) and Provocations to Reading (coedited with Barbara Cohen, 2005).



Thursday, March 6, 2014
Concentration Camp as Film Set: The Ambivalent Bequest of the Theresienstadt Films 1942-1945
Natascha Drubek

4:30 p.m.
105 Chancellor Green

Theresienstadt, a closed “ghetto” established by the Nazis 40 miles north of Prague, was the only example of the German administration’s attempt to use a concentration camp as a film set for documentaries made by its inhabitants. Filming in Theresienstadt took place, with intermissions, between summer of 1942 and March 1945. Although the scripts and film shoots were commissioned and supervised by the SS, they were predominantly made by imprisoned professional film artists who were able to document the real “ghetto” and its inhabitants. The larger goals of the two leading figures in the Theresienstadt film productions—Irena Dodalová from Prague, and Kurt Gerron from Berlin— emerged from divergent historical and cultural contexts. They also represent different ethical approaches to the perplexing opportunity given to Jewish film professionals to make a film inside a Nazi concentration camp.

Natascha Drubek, Heisenberg Fellow at the University of Regensburg, is the spring 2014 Diane and Howard Wohl Fellow at the Center for Advanced Holocaust Studies, United States Holocaust Memorial Museum. Since 2003, she has been the editor of the film section of ARTMargins Online. Drubek has published a number of books and scholarly articles. Her most recent volume, Russian Light: From the Icon to Early Soviet Cinema, was published in 2012. She completed her M.A. and Ph.D. in Slavic studies and history of Eastern Europe at the Ludwig-Maximilians-Universität, Munich. 


The series is cosponsored with United States Holocaust Memorial Museum, the Program in Judaic Studies at The Ronald O. Perelman Institute for Judaic Studies, and the Program in Contemporary European Politics and Society.