“Ja, das Ist das Platz”: O Tatear Pela Imutabilidade da Memória na Topografia de “Shoah”, de Claude Lanzmann

Abstract

Among the work of arts which compose the cinematographic canon on the subject of the Shoah, it is perhaps Claude Lanzmann’s homonymous production the one which occupies in it an almost legendary position, thus conferred by the singularity of its many nine hours long and by its entirely imagistic-testimonial composition. This brief article, which does not propose much more than to present, in an introductory manner, a view of some of the crucial points of this production – that is, the articulation of memory, of the narrative’s possibilities, of the relationship between individual, culture and space, etc. –, intends to focus itself on the subjective and dynamic aspect given by Lanzmann as a timeless work of art which escapes historical apprehension as much as it does an objective comprehension. It is through these reflections that it is up to us to question ourselves on the director’s intentions towards the production of this film, on this film’s intentions towards us, and on our own intentions towards the assimilated content.