Reviewed by: Holocaust Memory in the Digital Age: Survivors' Stories and New Media Practices by Jeffrey Shandler Oren Baruch Stier Jeffrey Shandler. Holocaust Memory in the Digital Age: Survivors' Stories and New Media Practices. Stanford, CA: Stanford University Press, 2017. ix + 232 pp. doi:10.1017/S0364009419001120 Jeffrey Shandler's latest book is based on years of online access to the video testimonies collected by the USC Shoah Foundation's Visual History Archive (VHA). The VHA, he notes, arose and developed at a critical temporal juncture in both Holocaust memory and technological dissemination, "as it straddles the temporal boundary marked by the loss of living witnesses to the Holocaust, the VHA also bestrides the transition from the 'video age' to the 'digital age'" (3–4). Shandler asks: What are the implications and impacts of the mix of memory practices employed in and by these testimonies, as well as the archive that houses them? Preceded by a chapter that contextualizes the archive historically, memorially, and technologically, the remainder of this book presents a series of case studies grouped formally according to three categories derived from "Aristotle's Poetics—mythos, lexis, and opsis…. Situat[ing] VHA interviews within the extensive history of performed narrative works, rather than confining them to a particular genre (such as oral history or wartime memoir) or treating them as exceptional phenomena" (5). [End Page 224] The first of these groupings addresses the nature of video-recorded narrative, typically presented by various archiving projects as possessing "an unrivaled immediacy and authority" (43). But, in actuality, the narratives are highly contextual, dependent on social, structural, and institutional frameworks. Even the very nomenclature employed can affect how these narratives are understood: eyewitnesses offering their accounts are referred to as "survivors, which connotes tenacity" (46). Furthermore, "because these narratives are esteemed as providing information to historians, moral guidance to the young, and retorts to Holocaust deniers, survivor videos are often referred to as 'testimonies,' invoking this term's implication of bearing witness in a legal proceeding or making a religious avowal" (47). Of particular interest to Shandler in this chapter are "the VHA recordings in which survivors' life histories are informed by other narratives" (49), including other versions of their own story, because the "tales retold" reflect and inform the very act and craft of storytelling. Shandler focuses on two groups of testimonies that respond to other narratives: accounts that discuss the film Schindler's List (itself embedded in the origin story of the VHA, since the VHA emerged from director Steven Spielberg's discussion with Holocaust survivors in the course of making his award-winning movie) and interviews with celebrity survivors. The second set of case studies considers the complexities of language in the interviews. The VHA, like most collections of a similar nature, works on a monolingual model. Subjects chose which language to speak, which "constrained most survivors' full range of linguistic resources" (90). Shandler, an expert on Yiddish language, literature, and culture, focuses in this chapter on ways Yiddish is engaged in the VHA interviews; 633 of them were conducted fully or partially in the language (92), a choice of the interviewees that reveals the multivalency of Yiddish as well as their own thoughts concerning language and memory and the relationships between the two. In terms of the narration of the past, Shandler examines recordings in Yiddish and English in order to explore the practice of code switching and what it may indicate. He also looks at the significance of Yiddish for survivors who mention it in the course of their testimonies, a "limited, inconstant presence … [that] is itself revealing" (113). Finally, Shandler discusses cases in which Yiddish texts are performed in the interviews: episodes, typically near the end of their testimonies, in which survivors assert a greater degree of agency—moments that accentuate their very survival. Yiddish is not only symbolic in these cases, but it is also quite literally preserved "as a resource for the future" (124). The third and final group of case studies addresses optics. In a chapter titled "Spectacle: Seeing as Believing," Shandler analyzes the uniquely visual components of these interviews, including protocols for videographers and, as others have noted, the domestic setting...
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