Manescu

Alex Manescu 3/17/13 Writing Intensive Film Study The Right to Represent: An Exploration of Visual Aesthetics in Relation to the Holocaust Historically speaking, the Holocaust has typically been explored as a dichotomy. It is likely one of the, if not the most extreme events to ever grace the face of the earth. Because of this severity, we naturally tend to try and understand it. This is not unlike how a viewer observes art. We immediately question, what is this? How can it be? What does this mean? The dichotomy here of course is between meaning and no meaning. And therein lies one of the most problematic issues with representing the Holocaustdoes it mean anything? In many ways it has been a struggle that has continued as a testament to the Holocausts solemn legacy. This aesthetic push and pull has been unearthed through the use of visual media tropes. As a result of traditional format constraints, there are several that present moral dilemmas. For instance, what happens when we ask ourselves as artists how far can we go? versus how far can we go and get away with it? This particular aesthetic choice presents a massive internal conflict of interest. If we chose to limit ourselves on the basis of acceptabilityare we even still artists? You have to wonder, if the victims of this horrific atrocity had any say, would they not want you to remind the world just how bad it can get? This concept is grounded largely in the Primo Levi writings Shame and The Grey Zone.

Manescu

At the advice of a dear friend living in Warsaw, Poland at presentI did a bit of introspection into this issue before attempting to write it. She has studied this topic extensively and in a way of such elegance, it could only be important, recommended referencing the specific dichotomy between the artistic aesthetics of Nazi propaganda posters in used in the Warsaw ghettos against those of the response from the artistic community living in said ghettos. This was an incredibly insightful proposition for me; it allows me to really get into the grit of how these people, of whom I cannot relate, tried to convey their message to me. There is such a vast wealth of information I could examine in this way, and I am incredibly thankful for this persons advice. Her work will be cited in the revision of this paper. I would prefer to revise this paper topic, as it fits in line with a broader exploration of the role of empathy in art that I view as an essentially important struggle. There are quite a few research sources available on this, and it appears to be just as relevant now as ever. Practically speaking, understanding this struggle could help with a broader understanding of why people do the things they do. One thing is for sure, it can certainly help understand why artists themselves make the decisions they do. For now what more could I need to know?