The EU Horizon 2020 project “Visual History of the Holocaust: Rethinking Curation in the Digital Age” (2019–2022) explores the potentials as well as the limitations of digital technologies in the ongoing effort to preserve, analyze and communicate historical evidence of the Holocaust, and in particular audiovisual records. It is coordinated by the Ludwig Boltzmann Institute for Digital History (Vienna), in close collaboration with the Austrian Film Museum (Vienna).
Upcoming and Recent Events
03.06.2021, 15:00 to 03.06.2021, 17:30
This paper focuses on artistic representations of the Nazi gas chambers and demonstrates how this icon of Holocaust memory can be used as the thematic and visual skeleton of a digital exhibition.
Migrating Images in the Digital Age: Multimodal Curation of Visual Records from the Liberation of Nazi Concentration Camps in Digital Infrastructures
06.05.2021, 14:00 to 06.05.2021, 15:00
Digital media and new forms of visual appropriation by digital means intensified the constant circulation of photographs and film footage related to historical events. Next to “classical” media such as films, paintings and graphic novels, nowadays also digital short videos or Internet memes refer to historical imagery. As migrating images, the visual records from the liberation of Nazi concentration camps inform complex and multilayered chains of references.
08.04.2021, 13:00 to 08.04.2021, 14:30
With a focus on color film footage shot by the U.S. Ary Air Forces at Buchenwald concentration camp, this presentation provides an overview of how the use and reuse of government films is explored in the VHH project.
SWR2 - Wednesday, 27.01.2021
Radio feature by Sabine Mahr as part of the broadcast series „SWR2 am Morgen” on SWR2, a radio channel of the Südwestrundfunk (the regional public broadcasting corporation for the southwest of Germany)
The Westerbork Film Revisited: Provenance, the Re-Use of Archive Material and Holocaust Remembrances
Fabian Schmidt, The Westerbork Film Revisited: Provenance, the Re-Use of Archive Material and Holocaust Remembrances, in: Historical Journal of Film, Radio and Television, no. 40/4 (2020), 702-731.
The essay analyses modifications of the Westerbork footage that were applied most likely during the 1980s and discusses ethical questions about dealing with archival footage.
Ulrike Koppermann, Bildraum und Ausstellungsraum. Reenactment und Immersion?, in: Visual History, 22.02.2021, https://visual-history.de/2021/02/22/bildraum-und-ausstellungsraum-reenactment-und-immersion/
At museums and memorial sites, the interpretation of a photograph greatly depends on its presentation, but on closer examination, some spatial arrangements raise ethical questions.
Fabian Schmidt, Alexander Oliver Zöller, Atrocity Film, in: Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe, no. 12 (2021), 1-80.
What if the SS as the main Nazi organisation responsible for the Holocaust produced a secret film about the persecution and murder of the European Jews during World War 2?
Digital curation of popular culture content is mainly based on discovering and operationalizing relations. This document introduces the Visual History of the Holocaust Taxonomy of Relations for annotating and analyzing relations between different assets.