The Westerbork film has become an iconic piece of archive footage. It was granted world document heritage by UNESCO in 2017 and has been a subject in the periphery of the international academic debate on the relationship between archival footage and historical inquiry since Harun Farockis’ Respite (2007). Despite its status as one of the most important archive films of the Holocaust, there has been next to no critical research on the provenance of the material. In the course of my dissertation research, it has become clear that at least parts of the edition in circulation today– namely the subject of all written and filmic publications since the early 1990s – is not the original, but instead an altered, shortened form, most likely produced in a Dutch archive during the late 1980s with the intention to present the footage in ways attractive to potential buyers. This essay lays out the extent of these modifications to the original footage and explores their effects on subsequent essays and films. The implications of these findings for the ethics of appropriation and general approaches to archival footage in different contexts such as historiographical research and public commemoration of the genocide of the European Jews are explored in detail.

中文翻译：

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重温韦斯特博克电影：出处、档案材料的再利用和大屠杀纪念

Westerbork 电影已成为档案镜头的标志性片段。它于 2017 年被联合国教科文组织授予世界文献遗产，自 Harun Farockis 的《喘息》（2007 年）以来，它一直是关于档案镜头与历史调查之间关系的国际学术辩论的外围主题。尽管它是大屠杀最重要的档案电影之一，但几乎没有关于材料来源的批判性研究。在我的论文研究过程中，很明显，至少今天流通的部分版本——即自 1990 年代初以来所有书面和电影出版物的主题——不是原版，而是经过修改、缩短的形式，很可能是在 1980 年代后期在荷兰档案馆中制作的，目的是以对潜在买家有吸引力的方式呈现镜头。这篇文章列出了对原始镜头的这些修改的程度，并探讨了它们对后续文章和电影的影响。详细探讨了这些发现对不同背景下的挪用伦理和档案录像的一般方法的影响，例如历史研究和欧洲犹太人种族灭绝的公共纪念。