Abstract
With the increasing medialization of cultural memory regardingWorld War II and the Holocaust, cinematic texts become significantcomponents of our remembrance. Not only videotaped witness testimoniesbut also documentaries and fictional films make up the growingbody of visual material that tells of the wartime past and the waywe remember it. Today, the great majority of the filmmakers depictingthe Holocaust on screen—as well as their audiences—belong tothe so-called second and third generations. Born too late to have witnessedthe murder of Europe’s Jews, these film directors nonethelessdeclare a very strong personal connection to the past they neverknew. Their renditions of this past is, as Marianne Hirsch argues,driven by the “postmemory,” a type of memory in which the connectionto its object or source is mediated not through recollectionbut rather through imagination and creation.
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