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Son of Saul and the ethics of representation: troubling the figure of the child
Cultural Studies Review ( IF 0.220 ) Pub Date : 2018-05-02 , DOI: 10.5130/csr.v24i2.6056
Amanda Howell , Margaret Gibson

Taking Laszlo Nemes’ film Son of Saul (2015) as both an aesthetic intervention into the public remembering of the Holocaust and as a critical/creative essay on representations of the horrors of war and violence more generally, this paper considers its use of the image and idea of the dead child—the child victim—and its ability to move, to communicate, to galvanise action, to seemingly cut through the chaos of communication. A figure presented as tangible and mournable in a way that the many anonymous, barely-glimpsed and largely ignored dead of the film are not, we consider it in relation to previous representations of the child in Holocaust film, but also, importantly, in relation to contemporary photographic examples of the child victim-as-icon, whose images seemingly require no caption to communicate and which inspire deeply-felt responses across cultures, organising structures of public feeling. As Nemes’ film makes clear, the claim of the child victim on the witness is profound, immediate, and potentially transformative. We will consider how the image of the child operates as a fluid signifier of both hope and despair, shared desires and fears, a not-unproblematic image through which the obscene and the unthinkable are mediated and made visible.

中文翻译:

扫罗之子与代表伦理:困扰孩子的身材

本文将拉斯洛·尼姆斯(Laszlo Nemes)的电影《扫罗之子》(Son of Saul)(2015)作为对公众对大屠杀记忆的美学干预,并作为对战争和暴力恐怖表征的批判性/创造性文章,本文考虑了其对图像的使用以及关于死去的孩子(受害儿童)的想法,以及其移动,交流,激发行动,似乎消除交流混乱的能力。呈现为有形和悲痛的人物的方式,使许多匿名的,几乎一闪而过的和在很大程度上被忽略的影片死亡的人不是,我们认为它与以前在大屠杀影片中儿童的表现有关,但重要的是,与以儿童受害人为图标的当代摄影作品为例,他们的图像似乎不需要字幕就可以交流,并且激发了跨文化的深刻反应,组织了公众感觉的结构。正如尼姆斯的电影所表明的那样,儿童受害者在证人身上的主张是深刻,直接和潜在的变革性的。我们将考虑孩子的形象如何充当希望和绝望,共同的愿望和恐惧的生动象征,这是一种无问题的形象,通过这种形象,淫秽和不可思议的事物得以调和并使之可见。
更新日期:2018-05-02
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