伊娃。故事:不尊重还是大屠杀记忆的成功改变?

IF 0.1 0 FILM, RADIO, TELEVISION
Liat Steir-Livny
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引用次数: 0

摘要

文摘:eva。stories是以色列的一个Instagram项目。企业家马蒂·科查维(Mati Kochavi)和他的女儿玛雅(Maya)将13岁的犹太匈牙利女孩伊娃·海曼(Eva Heyman)的日记改编成Instagram故事,并在2019年以色列大屠杀烈士和英雄纪念日上传到Instagram上。将大屠杀与在年轻人中非常受欢迎的社交网络服务Instagram结合在一起,在宣传活动中引发了相当大的争议。Instagram在公众中与愚蠢和世俗联系在一起。这些故事在网上疯传后,人们的看法发生了变化(伊娃的Instagram账户一度有180万人关注,全球浏览量达到3亿),该项目因改变了大屠杀纪念活动而受到赞扬。本文采用史学和文化的方法,在以色列七十年大屠杀记忆的背景下分析该项目。它考察了处理知识和信息传递的垂直平面与处理呈现大屠杀记忆的新方式的水平面之间的交集。有人认为,该项目可能扩大了知识的垂直面,但未能扩大以色列大屠杀纪念活动的水平面。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
eva.stories: Disrespect or a Successful Change in Holocaust Memory?
ABSTRACT:eva.stories is an Israeli Instagram project. Entrepreneur Mati Kochavi and his daughter, Maya, adapted the diary of thirteen-year-old Eva Heyman, a Jewish Hungarian girl who was murdered in Auschwitz, into Instagram stories that were uploaded to Instagram on the Israeli Holocaust Martyrs' and Heroes' Remembrance Day in 2019. Combining the Holocaust with Instagram, a social network service that is highly popular among young people and is associated by the public with silliness and the mundane, stirred up considerable controversy in Israel during its promotional campaign. Opinions changed after the stories went viral (1.8 million followed Eva's Instagram account at one point, for a total of 300 million views internationally), and the project was commended for having altered Holocaust commemoration. This article takes a historiographic and cultural approach to analyze the project in the context of seventy years of Holocaust memory in Israel. It examines the intersection between a vertical plane that deals with knowledge and the transfer of information and a horizontal plane that deals with new ways of presenting Holocaust memory. It is argued the project may have extended the vertical plane of knowledge but failed to augment the horizontal plane of Israeli Holocaust commemoration.
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
0
期刊介绍: Jewish Film & New Media provides an outlet for research into any aspect of Jewish film, television, and new media and is unique in its interdisciplinary nature, exploring the rich and diverse cultural heritage across the globe. The journal is distinctive in bringing together a range of cinemas, televisions, films, programs, and other digital material in one volume and in its positioning of the discussions within a range of contexts—the cultural, historical, textual, and many others.
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