Tourists as post-witnesses in documentary film
Sergei Loznitsa’s "Austerlitz" (2016) and Rex Bloomstein’s "KZ" (2006)
DOI:
https://doi.org/10.35295/osls.iisl/0000-0000-0000-1045Palabras clave:
documental, turismo negro, post-testimonio, nacionalsocialismo, Sergei Loznitsa, Rex BloomsteinResumen
Este artículo compara dos documentales que giran en torno a una aparente crisis del post-testimonio en monumentos a las víctimas del nacionalsocialismo. En el contexto del debate actual sobre cómo deben comportarse los turistas en lugares de herencia “oscura” o “difícil”, Austerlitz (2016), de Sergei Loznitsa, y KZ (2006), de Rex Bloomstein, observan de forma muy diferente el acto de visitar antiguos campos de concentración. Mientras Loznitsa adopta un modo de observación documental, construyendo una jerarquía cultural entre el observador turístico y el cinemático, Bloomstein opta por un modo participativo para exhortar al espectador a considerar las complejidades de las prácticas afectivo-discursivas de los turistas que se comprometen con el sufrimiento de las víctimas. El artículo argumenta que la decisión de Bloomstein de adoptar un enfoque participativo es más productivo a la hora de propiciar nuestra reflexión sobre el significado de las respuestas al sufrimiento de las víctimas en esos lugares.
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