Problem formalnej analizy reprezentacji Zagłady. "Obrazy mimo wszystko" Georgesa Didi-Hubermana i "Respite" Haruna Farockiego
Formal Analysis of Representation of the Shoah as an Issue. Georges Didi-Huberman’s "Images malgre tout" and Harun Farocki’s "Respite"

Summary/Abstract: The essay is about a relationship combining ethical, aesthetic(al) and epistemic methods of interpreting the images of the Holocaust. Taking the theoretical solutions of Georges Didi-Huberman’s Images malgre tout and those implied by Harun Farocki’s movie Respite as the examples, demonstrated is the necessity to formally analyse the works referring to the Shoah. Their formal stratum, conceived as a set of solutions determining the structure and significance of visuality of photography or film, should not be approached as a secondary, sometimes even detrimental, ‘aesthetical’ aspect but instead, a condition for an option of their ethical meaning. Specific visual forms, film-editing strategies or decisions on how to frame a photo do inform our knowledge on the Annihilation and enable consideration of ethical questions, including those concerning relevance of images.

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