Šabac
A Cinematographic Archaeology?
DOI:
https://doi.org/10.1558/jca.32391Keywords:
cinematographic archaeology, haptic experience, Holocaust landscape, Šabac, “Kladovo transport”Abstract
Drawn from a longstanding collaboration between the authors, this contribution explores the common ground between filmmaking and archaeological investigation and in particular a shared interest in haptic experiences and the material properties of the world. This leads us to propose the use of the camera and the moving image it produces as valuable archaeological research tools. To illustrate this we present both a short film and brief discussion paper focusing on the Serbian town of Šabac as a Holocaust landscape and its link with a group of Jewish refugees known as the “Kladovo transport”. Based on this case study we aim to highlight the transformative potential of artistic interventions in archaeological questions, and indeed vice versa, to construct new modes of knowing.
References
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Grimshaw, A. 2001. The Ethnographer’s Eyes: Ways of Seeing in Anthropology. Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511817670
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____. (ed.) 2011. Redrawing Anthropology: Materials, Movements, Lines. London and New York: Routledge.
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____. 2002. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press.
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____. (ed.) 2013. Practice-as-Research in the Arts: Principles, Protocols, Pedagogies, Resistances. London: Palgrave Macmillan. https://doi.org/10.1057/9781137282910
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Ruby, J. 1975. “Is an Ethnographic Film a Filmic Ethnography?” Studies in the Anthropology of Visual Communication 2 (2): 104–111. https://doi.org/10.1525/var.1975.2.2.104
____. 2000. Picturing Culture: Explorations of Film and Anthropology. Chicago: University of Chicago Press.
Sobchack, V. 1992. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press.
____. 2004. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press.
Weizman, E., P. Tavares, S. Schuppli and S. Studio. 2010. “Forensic Architecture.” Architectural Design 80 (5): 58–63. https://doi.org/10.1002/ad.1134
Wickstead, H. 2013. “Between the Lines: Drawing Archaeology.” In The Oxford Handbook of the Archaeology of the Contemporary World, edited by P. Graves-Brown, R. Harrison and A. Piccini, 549–564. Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199602001.013.012
Wilson, E. O. 1999. Consilience: The Unity of Knowledge. New York: Vintage.
Allegue, L., S. Jones, B. Kershaw and A. Piccini (eds). 2009. Practice-As-Research in Performance and Screen. London: Palgrave.
Anderl, G. and W. Manoschek. 2001. Gescheiterte Flucht: Der “Kladovo-Transport” auf dem Weg nach Palaestina 1939-1942. Vienna: Mandelblaum.
Avriel, E. 1975. Open the Gates: The Dramatic Personal Story of “Illegal” Immigration to Israel. London: Weidenfeld and Nicolson.
Babovic´, G. 2010. Letopis Sapca 1933-1944. Belgrade: Institut za noviju istoriju Srbije.
Bateman, J. 2005. “Wearing Juninho’s Shirt: Record and Negotiation in Excavation Photographs.” In Envisioning the Past: Archaeology and the Image, edited by S. Smiles and S. Moser, 192–203. Oxford: Blackwell. https://doi.org/10.1002/9780470774830.ch10
Doane, M. A. 2002. The Emergence of Cinematic Time: Modernity, Contingency, the Archive, Cambridge, MA: Harvard University Press.
Deleuze, G. 1998. “Having an Idea in Cinema.” In Deleuze and Guattari: New Mappings in Politics, Philosophy and Culture, edited by E. Kaufman and K. J. Heller, 14–19. Minneapolis: University of Minnesota Press.
Elsaesser, T. and M. Hagener. 2010. Film Theory: An Introduction Through the Senses. London and New York: Routledge.
Epstein, M. 2012. The Transformative Humanities: A Manifesto. London: Bloomsbury.
Foucault, M. 1972. The Archaeology of Knowledge. London and New York: Routledge.
Fuchs, H. 2008. “Wir verloren unsere Familien, unsere Kindheit, unsere Heimat.” Die Letzen Zeugen Die Gerecheten. Available online: http://www.lettertothestars.at/lastwitnesses_pers.php?uid=2489
Grimshaw, A. 2001. The Ethnographer’s Eyes: Ways of Seeing in Anthropology. Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511817670
Harris, E. C. 1989. Principles of Archaeological Stratigraphy. London: Academic Press.
Harrison, R. 2011. “Surface Assemblages: Towards an Archaeology In and Of the Present.” Archaeological Dialogues 18 (2): 141–161. https://doi.org/10.1017/S1380203811000195
Ingold, T. 1993. “The Temporality of the Landscape.” World Archaeology 25 (2): 152–174. https://doi.org/10.1080/00438243.1993.9980235
____. (ed.) 2011. Redrawing Anthropology: Materials, Movements, Lines. London and New York: Routledge.
Jovanovic´, M. 1979. “‘Wir packen, Wir auspacken’: Tragic?na Sudbina Jevreja Izbeglica u Šapcu 1941.” Zbornik 4: 246–279.
King, T. F. 2005. Doing Archaeology: A Cultural Resource Management Perspective. Walnut Creek, CA: Left Coast Press.
Koljanin, M. 1992. Nemac?ki logor na Beogradskom Starom Sajmištu 1941.-1944. Belgrade: Institut za savremenu istoriju.
Lucas, G. 2005. The Archaeology of Time. London and New York: Routledge
Marks, L. U. 2000. The Skin of the Film. Durham, NC: Duke University Press.
____. 2002. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press.
Mendoza, A. O. 2011. “The Siege of Belgrade 1521.” In Conflict and Conquest in the Islamic World: A Historical Encyclopedia, Volume 1, edited by A. Mikaberidze, 210. Santa Barbara, CA: ABC-Clio.
Mihajlovic´, M. and A. Mitrovic´ (eds). 2006. Kladovo transport: Zbornik radova sa okruglog stola; Beograd, Oktobar, 2002 / The Kladovo Transport: Roundtable Transcripts; Belgrade, October 2002. Belgrade: Jewish Historical Museum.
Mitrovic´, A. 2007. Serbia’s Great War, 1914–1918. West Lafayette, IN: Purdue University Press.
Neiberg, M. S. 2006. Fighting the Great War: A Global History. Cambridge, MA: Harvard University Press.
Nelson, R. 2009. Modes of Practice-as-Research Knowledge and their Place in the Academy. In Practice-as-Research in Performance and Screen, edited by L. Allegue, S. Jones, B. Kershaw and A. A. Piccini. London: Palgrave Macmillan.
____. (ed.) 2013. Practice-as-Research in the Arts: Principles, Protocols, Pedagogies, Resistances. London: Palgrave Macmillan. https://doi.org/10.1057/9781137282910
Olivier, L. 2001. “Duration, Memory and the Nature of Archaeological Record.” In It’s About Time: The Concept of Time in Archaeology, edited by H. Karlsson, 61–70. Gothenburg: Bricoleur Press.
Reich, H. 2014. Zwei Tage Zeit. Graz: CLIO.
Ruby, J. 1975. “Is an Ethnographic Film a Filmic Ethnography?” Studies in the Anthropology of Visual Communication 2 (2): 104–111. https://doi.org/10.1525/var.1975.2.2.104
____. 2000. Picturing Culture: Explorations of Film and Anthropology. Chicago: University of Chicago Press.
Sobchack, V. 1992. The Address of the Eye: A Phenomenology of Film Experience. Princeton, NJ: Princeton University Press.
____. 2004. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press.
Weizman, E., P. Tavares, S. Schuppli and S. Studio. 2010. “Forensic Architecture.” Architectural Design 80 (5): 58–63. https://doi.org/10.1002/ad.1134
Wickstead, H. 2013. “Between the Lines: Drawing Archaeology.” In The Oxford Handbook of the Archaeology of the Contemporary World, edited by P. Graves-Brown, R. Harrison and A. Piccini, 549–564. Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199602001.013.012
Wilson, E. O. 1999. Consilience: The Unity of Knowledge. New York: Vintage.
Published
2018-02-19
Issue
Section
Creative Archaeologies Forum
How to Cite
Kador, T., & Lukic, V. (2018). Šabac: A Cinematographic Archaeology?. Journal of Contemporary Archaeology, 4(2), 221-228. https://doi.org/10.1558/jca.32391
