![]() ![]() I am not a second-generation survivor, and yet it appears to be genetic”.įilming of the movie began in Poland last week and will continue for a month and a half. I named my daughter Tema, after a Jew from the Warsaw ghetto named Tema Shneiderman. If he had the opportunity to choose, Barbash said that the Holocaust would be the only subject for his work. "At face value it is not an attractive subject or a ratings success for the people who are willing to invest money, or for television, where I have also tried a few times”. Every other project I tried making on the subject of the Holocaust since then, did not succeed. “Unfortunately this is the only film project on the subject that I have been able to do, excluding “Kastner’s Trial” which I also worked with Motti Lerner. ![]() It influences my daily life, it is the most essential thing in my life”, he says. “In my opinion, the Holocaust is not just history. Understandably, drawing inspiration from Ida Fink’s works is like being attached to a nuclear reactor”.Įven though Barbash is not a second-generation survivor, this “nuclear reactor” flows in his veins. “All of Ida Fink’s stories talk about that period, that milieu, and about the everyday life of people trying to survive and remain human beings during the hell of the Holocaust. The screenplay, written by Motti Lerner, is essentially a combination of two of Ida Fink’s short stories, “A Conversation” and “Spring Morning”, with hints and nuances from the author’s other writings. “Every movie is an exhausting journey to the unknown, but this project is a dream come true and I hope that in the end it will not become a nightmare”, Barbash says, “This is a once in a lifetime experience because of the nature of the story, the subject, the way it is being filmed, and the people making it”. Flashbacks from the spring of 1941, when she lost in one single blow her entire world, keep flooding back to her - her physician husband, her two daughters, the occupation of the city by the German army, and the hiding place they find with a farmer’s wife that changed their lives. It has been 30 years since she left the country that betrayed her and she has not looked back. “Spring 1941” returns Clara Fink (Claire Higgins), a world-famous Jewish cellist who lives in Canada, to the Polish town where she was born, for a dedication of a concert hall in her name. This journey to the depths of hell is accompanied by a cast of British and Polish actors led by Joseph Fiennes, Claire Higgins, Neve Macintosh, Mirik Baka, and Maria Pakulnis. Lastly, by examining the role that silence plays in Holocaust short stories, I will shed light on how this literary genre uniquely reveals the assault on the soul, on language, and on human relationship that came about in Europe from 1933 to 1945.Israeli director Uri Barbash describes the past two months in Poland, making the final preparations for filming the movie "Spring 1941" as "a once in a lifetime experience". For language is central to human relationship, and human relationship-at least among the Jews-was targeted for obliteration during the Holocaust. ![]() Furthermore, I examine how this motif of silence, woven throughout Fink’s narratives, highlights the themes of the collapse of time and the collapse of relationships, which I consider key themes found throughout the Holocaust short story genre. Through a close analytical examination of the literary motif of silence found in select Holocaust short stories written by Ida Fink, this paper explores the ways in which Fink’s narratives illuminate this assault on word and meaning, on language and silence. Such connections are particularly significant for a literary work, since the literary text consists of this whole dynamic. How can a short story shed light on what came under assault during the Holocaust and the Nazis’ systematic annihilation of the Jewish people? Like individual testimonies piecing together the horror and enormity of a crime, Holocaust short stories can convey a defining aspect of the Nazis’ assault on the soul, particularly as that assault manifests itself in an assault on language and meaning-and, by implication, on silence. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |