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- W2040280648 abstract "Collective memory cannot be divorced from its construction in culture. As the Broadway version of The Diary of Anne Frank did so phenomenally, plays, novels and movies generate cultural perceptions in ways that are particularly problematic and that stimulate further media reworking of the memory, which may produce stronger images than documentary presentation of facts and testimony by witnesses, educators and historians. In the United States the Holocaust entered popular culture as an American experience, first through the TV miniseries Holocaust (1978) and more recently in Steven Spielberg's Schindler's List (1993), which gave the definitive photo-realism touch to a Hollywood story of the morally ambiguous but can-do hero who pits his wits against absolute evil. 1 The same year, the Holocaust became accessible in the National Holocaust Museum in Washington DC alongside the nation's other museums and monuments. 2 The question behind what is frequently called the Americanization of the Holocaust is what shapes the memory when it has become a cultural artifact with tenuous relevance to [End Page 56] the historical events. 3 What are the implications for the writing of history when the past is perceived as a confused myth within conflicting discourses? Witnessing through the imagination has been seen as a legitimate way for those who were not there to approach the Holocaust, 4 but what happens when it can only be understood in an effort of the imagination?" @default.
- W2040280648 created "2016-06-24" @default.
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- W2040280648 date "2000-01-01" @default.
- W2040280648 modified "2023-10-17" @default.
- W2040280648 title "The Future of the Past: Countermemory and Postmemory in Contemporary American Post-Holocaust Narratives" @default.
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- W2040280648 doi "https://doi.org/10.1353/ham.2000.0008" @default.
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