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Снабженная большим количеством фотоматериала история Третьего рейха .

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Within this literature, “seeing” takes as many different forms as do the images that are perceived. To see variously means to imagine, cognize, realize, discover. In Through Amateur Eyes seeing is, quite simply, an engagement with the image through the perception of sight. And what is seen are films and photographs as visible objects whose meanings begin where light is made manifest in color and form on the surface of each image. To see the images means, first and foremost, to experience them visually.

Nevertheless, as Hallas and I argue in The Image and the Witness, the very presence of an image has the capacity to generate an intersubjectivity: the image opens up a site at which a witness (in this case, the contemporary viewer) who did not directly observe or participate in the traumatic historical event now has the ability to witness, at a distance, the ordeal of those photographed. When we see the photographs, it is our responsibility to bear witness to ourselves as we revivify and prolong the historical memory of the traumatic events.

In his two-volume history of events, Nazi Germany and the Jews, 1939–1945, Saul Friedländer significantly changed the direction of these two otherwise parallel strains of history. ²¹ Indeed, as Friedländer demonstrates, to grasp the full history, implementation, and impact of the crimes committed by the Nazi regime and the Jewish experience of these crimes it is necessary to understand their mutual imbrication. ²² From Friedländer I take this notion of the importance of the contextualization of documents and events and the impulse to study images taken by the perpetrators as a way of gaining insight into and knowledge of a much bigger picture.

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