What of Theresienstadt might be visible in photographs of Terezin? What does Sebald’s invocation of the “shadows of reality” – as a metaphor of and for memory – ask us to think photographically? What does the Red Cross representative, Maurice Rossel, recalling his visit to Theresienstadt in 1944 in an interview with Claude Lanzmann, not think in reference to the photographs he took there? Reflecting on this instance of Holocaust memory, I will address relations between metaphors of “developing” images in the dark room of the mind and “narrative” practices of film montage “in the light of” a short film of my own.

biografia

Dr. Mischa Twitchin is a senior lecturer in the Theatre and Performance Dept., at Goldsmiths, University of London. He has contributed chapters to several collected volumes, as well as articles in journals such as Memory Studies, Contemporary Theatre Review, and Performance Research (an issue of which, On Animism, 24.6, he also co-edited). His book, The Theatre of Death – the Uncanny in Mimesis: Tadeusz Kantor, Aby Warburg and an Iconology of the Actor, is published by Palgrave Macmillan; and his edited volume, Wittgenstein and Performance, by Rowman and Littlefield.

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