|
Acknowledgements |
6 |
|
|
Contents |
8 |
|
|
Chapter 1 Introduction: Figuring the Sonderkommando in History |
9 |
|
|
Gender in the Archive |
14 |
|
|
The Uses of Testimony |
21 |
|
|
Chapter 2 Acts of Deposition: Gender and Testimony in the Scrolls of Auschwitz |
33 |
|
|
The Deaths of Schillinger |
33 |
|
|
The Scrolls of Auschwitz |
39 |
|
|
Sex and Gender in Auschwitz-Birkenau |
43 |
|
|
The Play of Gazes |
50 |
|
|
Sadism |
59 |
|
|
Chapter 3 Tragic Pictures: The Sonderkommando and Their Photographs |
79 |
|
|
Introduction: On Attribution |
79 |
|
|
Limits of Seeing |
81 |
|
|
Wanting Immediacy |
84 |
|
|
Texts and Images |
87 |
|
|
Postmemory Avant La Lettre |
92 |
|
|
Words for Pictures |
97 |
|
|
Chapter 4 The Trials of Witnessing: Legal Testimony and the Sonderkommando |
109 |
|
|
An Interested Audience |
109 |
|
|
The Belsen Trial at Lüneburg (1945) |
114 |
|
|
Poland—Trials of Höss and Auschwitz Staff |
119 |
|
|
The Frankfurt Auschwitz Trial (1963–1965) |
126 |
|
|
Conclusion |
128 |
|
|
Chapter 5 Figure Studies from the Grey Zone: David Olère |
137 |
|
|
In Line with the Facts |
137 |
|
|
The Reception of the Artist |
142 |
|
|
Ilse Koch at Auschwitz |
145 |
|
|
Sexual Violence |
151 |
|
|
Marked Men |
154 |
|
|
A Beautiful Death |
158 |
|
|
Out of Line |
162 |
|
|
Collage |
163 |
|
|
Chapter 6 Matters of Video Testimony |
178 |
|
|
Listening and Resistance |
178 |
|
|
Age and Gender: Dario Gabbai and Daniel Bennahmias |
190 |
|
|
Memory in the Frame: Technique and Technology |
198 |
|
|
Ethics and Reception: Segmentation, Transcription and Interpretation |
204 |
|
|
Chapter 7 The Voice of Bronze: Filip Müller and Shoah |
225 |
|
|
Telling for the Last Time |
225 |
|
|
Shaping the Voice |
228 |
|
|
Embodiment |
234 |
|
|
Müller’s Unique Position |
236 |
|
|
Going Back to the Archive |
239 |
|
|
Conclusion |
243 |
|
|
Bibliography |
254 |
|
|
Index |
273 |
|