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Narratives of Historical Memory and Their Touristic Function: The Case of Sergei Loznitsa’s Austerlitz

Narratives of Historical Memory and Their Touristic Function: The Case of Sergei Loznitsa’s... AbstractThis article discusses a documentary film, Austerlitz (2016), by the Ukrainian film director Sergei Loznitsa. The film shows massive flows of tourists visiting Sachsenhausen and Dachau concentration camps, therefore, it is interpreted through the prism of dark tourism. The article argues that by functioning as a piece of virtual dark tourism, Austerlitz is constructed as a re-enactment of a collision with places of death. By refusing to moralize or condemn bored concentration camp visitors, Loznitsa enables the viewer to understand how radical experiences of mass destruction and death are being recorded in tourism practices in today’s society. The French semiotician and philosopher Roland Barthes argues that death is most clearly perceived when it opens up as an act that has already taken place in the past, but at the same time will also take place in the future – this has been and this will be. The article concludes that exactly this is the effect of the documentary film Austerlitz. By showing crowds of visitors walking in the empty spaces of concentration camps, Loznitsa opens up a tragedy of mass destruction and death that has already taken place, but at the same time will also happen. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Acta Universitatis Sapientiae, Film and Media Studies de Gruyter

Narratives of Historical Memory and Their Touristic Function: The Case of Sergei Loznitsa’s Austerlitz

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References (17)

Publisher
de Gruyter
Copyright
© 2022 Nerijus Milerius, published by Sciendo
eISSN
2066-7779
DOI
10.2478/ausfm-2022-0001
Publisher site
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Abstract

AbstractThis article discusses a documentary film, Austerlitz (2016), by the Ukrainian film director Sergei Loznitsa. The film shows massive flows of tourists visiting Sachsenhausen and Dachau concentration camps, therefore, it is interpreted through the prism of dark tourism. The article argues that by functioning as a piece of virtual dark tourism, Austerlitz is constructed as a re-enactment of a collision with places of death. By refusing to moralize or condemn bored concentration camp visitors, Loznitsa enables the viewer to understand how radical experiences of mass destruction and death are being recorded in tourism practices in today’s society. The French semiotician and philosopher Roland Barthes argues that death is most clearly perceived when it opens up as an act that has already taken place in the past, but at the same time will also take place in the future – this has been and this will be. The article concludes that exactly this is the effect of the documentary film Austerlitz. By showing crowds of visitors walking in the empty spaces of concentration camps, Loznitsa opens up a tragedy of mass destruction and death that has already taken place, but at the same time will also happen.

Journal

Acta Universitatis Sapientiae, Film and Media Studies – de Gruyter

Published: Jul 1, 2022

Keywords: dark tourism; concentration camp; documentary film; Sergei Loznitsa

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