Claude Lanzmann’s <em>The Four Sisters</em> (2017) on Television
DOI:
https://doi.org/10.18146/view.269Keywords:
Claude Lanzmann, Holocaust, Shoah, female survivors, televisionAbstract
This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained interviews, absence of location footage and reliance on certain kinds of shot construction and mise-en-scene, arise from this televisual production context, as well as seeming to mark an ambivalent effort on the director’s part to redress his earlier work’s focus on male testifiers.
Published
2021-12-01
Issue
Section
Discoveries
License
Copyright (c) 2021 The Author(s)
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).