Language:
French
Year of publication:
2008
Titel der Quelle:
Annales
Angaben zur Quelle:
63,6 (2008) 1249-1274
Keywords:
Eichmann, Adolf,
;
Holocaust, Jewish (1939-1945), in motion pictures
;
War crime trials
;
Holocaust, Jewish (1939-1945)
Abstract:
Discusses how the idea to film the Eichmann trial for television was born, how the filming was done, and how the fact that the trial was filmed and televised impacted on the way it was perceived. Notes that the desire of the American producer, Milton Fruchtman, to film the trial (he hoped it would allow him to realize a rejected project on neo-Nazism) coincided with Israeli interest in gaining publicity for the event. Describes the preparations of the American director, Leo Hurwitz, for the filming, which had to conform with conditions set up by the judges and a scenography determined by judicial ritual. Analyzes Hurwitz's directing in terms of the dynamics between the judicial and the televisual scenes. His dramaturgy is characterized by frequent use of montage and showing audience reactions. Emphasizes that the recording did not merely capture the event, but staged it anew in a way that accentuated images on the account of words, turned the participants into characters, produced a "dramaturgy of the witness", and brought about a confrontation between Eichmann and the witnesses. This dramaturgy was then subjected to editing by TV stations. Concludes that the Eichmann trial marked a turning point both in the perception and memory of the Shoah, and in the history of the new television media in Israel.
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