The Portraitist | |
---|---|
Portrecista | |
Written by | Ireneusz (Irek) Dobrowolski |
Directed by | Ireneusz (Irek) Dobrowolski |
Starring | Wilhelm Brasse |
Theme music composer | Agata Steczkowska |
Country of origin | Poland |
Original language | Polish |
Production | |
Producer | Anna Dobrowolska |
Editor | Ireneusz (Irek) Dobrowolski |
Running time | 52 minutes |
Original release | |
Network | TVP1, Poland |
Release | 1 January 2006 |
The Portraitist is a 2005 Polish television documentary film about the life and work of Wilhelm Brasse, the famous "photographer of Auschwitz", made for TVP1, Poland, which first aired in its "Proud to Present" series on January 1, 2006. [1] It also premiered at the Polish Film Festival, at the West London Synagogue, in London, on March 19, 2007. [2]
In August 1940, when he was 23, after fleeing the Nazi occupation of Żywiec, his home town in southern Poland, Wilhelm Brasse was captured at the Polish-Hungarian border and deported to KL Auschwitz-Birkenau, as prisoner number 3444. [3] Trained before the beginning of World War II as a portrait photographer at his aunt's studio, [4] [ deprecated source ] he was ordered by his SS supervisors to photograph "what they told him to photograph: prisoners' work, criminal medical experiments, portraits of the prisoners for the files." [5] Brasse has estimated that he took about 40,000 to 50,000 "identity pictures" from 1940 until 1945, before being forcibly moved to another concentration camp in Austria, where he was liberated by the American forces in May 1945. [6] [7] [8] [9]
While not all of Brasse's photographs are extant, 40,000 that did survive are kept in archives, with some on display, at the Auschwitz-Birkenau State Museum, and at Yad Vashem, the Holocaust Martyrs' and Heroes' Remembrance Authority, Israel's official memorial to the Jewish victims of the Holocaust, and some of the Auschwitz-Birkenau State Museum archival photographs and related iconography are presented visually in the film, with narration through interviews with Brasse. [6] [8]
Portrecista (The Portraitist) examines the life and work of Wilhelm Brasse, who had been trained as a portrait photographer at his aunt's studio prior to World War II and passionately loved taking photographs. [4] [ deprecated source ] After his capture and imprisonment by the Nazis at Auschwitz concentration camp in 1940, at the age of 23, he was forced to take "identity pictures" of between approximately 40,000 to 50,000 other inmates between 1940 and 1945. With "courage and skill", documenting "cruelty which goes beyond all words ... for future generations", after his liberation at the end of World War II, Brasse "could not continue with his profession" and would never take another photograph. [10]
In Portrecista Brasse relates the "story behind some pictures in the Auschwitz-Birkenau State Museum archives that he remembers taking," [8] which is "illustrated with archive stock and iconography." [5] [11]
Written, directed, and edited by Irek Dobrowolski, produced by Anna Dobrowolska for TVP1, Poland, and filmed by cinematographer Jacek Taszakowski, this documentary film, starring Wilhelm Brasse (as himself), was first shown in the "Proud to Present" series on the Polish television station TVP1 on January 24, 2006, [1] and then was shown at the Warsaw International Film Festival's "Jewish Motives" division, where it won the Grand Prix "Golden Phoenix of Warsaw" and at the 46th Kraków Film Festival, where it won the National Competition Silver "Lajkonik". [11] Its English premiere as The Portraitist was at the Polish Film Festival, at West London Synagogue, in London, on March 19, 2007, with a second screening by popular demand, on April 22, 2007, and, after the premiere, the audience participated in a "Q&A" with Dobrowolski and Brasse. [2]
It was also screened at other Polish film festivals throughout Europe and film festivals in North America and garnered some additional awards. [12] [13]
In her 2004 book Photographing the Holocaust: Interpreting the Evidence, published a year before the release of this film, Auschwitz historian Janina Struk recounted "the history of the use and abuse of Holocaust photographs" depicting atrocities. [7] Struk interviewed Brasse for her book in 2000. At the camp's photo processing room, he saw the footage of Soviet POWs being massacred with axes outside Block 11, and said, that he will never forget the scenes in this film made by SS man Walter using his 16mm Agfa Monik film camera. [14] The Germans keen on documenting the industrial nature of murder did not possess the knowledge and skills of photo lab technicians, and relegated the work to Erkennungsdienst prisoners like Brasse, "the portraitist" of Auschwitz. [14]
The film program of the Toronto Photography Festival 'Contact 2008' held throughout the month of May, in Toronto, Ontario, Canada, where The Portraitist was shown on May 10, says that "Brasse tells his story with chilling simplicity and haunting detail", noting that some images may disturb. [15]
In reviewing the Contact 2008 screening, Fran Schechter observes that "Director Ireneusz Dobrowolski mixes the recollections of the now elderly survivor [Wilhelm Brasse] with a gallery of mug shots and SS portraits and wartime film footage of ghettos and concentration camps." Schechter notes: "Any Holocaust testimony has an impact", but adds: "this film could have delved deeper into the question of why the Nazis made photographs and other documentation of people they considered expendable", and is left wondering: "Were they proud of their savage efficiency, or using photography to normalize their actions?" [16] Such questions lead to another controversial subject: "the roots of Nazi psychology", the title of a 2000 book by Jay Y. Gonen. [17]
Brasse, Wilhelm b.3.12.1917 (Żywiec), camp serial number:3444, profession:fotograf.[ dead link ]
The Nazis at Auschwitz were obsessed with documenting their war crimes and Wilhelm Brasse was one of a group of prisoners forced to take photographs for them. With the 60th anniversary of the death camp's liberation approaching [in January 2005], he talks to Janina Struk. ... Sitting in a small, empty, dimly lit restaurant in his home town of Żywiec in southern Poland, Brasse, now 87 years old and stooped from a severe beating in the camp, recalls his bitter experiences of Auschwitz. ... Thanks to the ingenuity of [Darkroom worker Bronislaw] Jureczek and Brasse, around 40,000 of [the photographs] did survive, and are kept at Auschwitz museum.
A Polish photographer, who was ordered to take pictures of concentration camp inmates during the Second World War, will visit London for the first time this week to see a film of his work
Auschwitz concentration camp was a complex of over 40 concentration and extermination camps operated by Nazi Germany in occupied Poland during World War II and the Holocaust. It consisted of Auschwitz I, the main camp (Stammlager) in Oświęcim; Auschwitz II-Birkenau, a concentration and extermination camp with gas chambers; Auschwitz III-Monowitz, a labour camp for the chemical conglomerate IG Farben; and dozens of subcamps. The camps became a major site of the Nazis' Final Solution to the Jewish question.
Nazi Germany used six extermination camps, also called death camps, or killing centers, in Central Europe during World War II to systematically murder over 2.7 million people – mostly Jews – in the Holocaust. The victims of death camps were primarily murdered by gassing, either in permanent installations constructed for this specific purpose, or by means of gas vans. The six extermination camps were Chełmno, Belzec, Sobibor, Treblinka, Majdanek and Auschwitz-Birkenau. Extermination through labour was also used at the Auschwitz and Majdanek death camps. Millions were also murdered in concentration camps, in the Aktion T4, or directly on site.
Sonderkommandos were work units made up of German Nazi death camp prisoners. They were composed of prisoners, usually Jews, who were forced, on threat of their own deaths, to aid with the disposal of gas chamber victims during the Holocaust. The death-camp Sonderkommandos, who were always inmates, were unrelated to the SS-Sonderkommandos, which were ad hoc units formed from members of various SS offices between 1938 and 1945.
Majdanek was a Nazi concentration and extermination camp built and operated by the SS on the outskirts of the city of Lublin during the German occupation of Poland in World War II. It had seven gas chambers, two wooden gallows, and some 227 structures in all, placing it among the largest of Nazi concentration camps. Although initially intended for forced labor rather than extermination, it was used to murder people on an industrial scale during Operation Reinhard, the German plan to murder all Polish Jews within their own occupied homeland. In operation from 1 October 1941 to 22 July 1944, it was captured nearly intact. The rapid advance of the Soviet Red Army during Operation Bagration prevented the SS from destroying most of its infrastructure, and Deputy Camp Commandant Anton Thernes failed to remove the most incriminating evidence of war crimes.
Pruszków is a city in east-central Poland, situated in the Masovian Voivodeship since 1999. It was previously in Warszawa Voivodeship (1975–1998). Pruszków is the capital of Pruszków County, located along the western edge of the Warsaw urban area.
The German camps in occupied Poland during World War II were built by the Nazis between 1939 and 1945 throughout the territory of the Polish Republic, both in the areas annexed in 1939, and in the General Government formed by Nazi Germany in the central part of the country (see map). After the 1941 German attack on the Soviet Union, a much greater system of camps was established, including the world's only industrial extermination camps constructed specifically to carry out the "Final Solution to the Jewish Question".
The Auschwitz Album is a photographic record of the Holocaust during the Second World War. It and the Sonderkommando photographs are among the small number of visual documents that show the operations of Auschwitz II-Birkenau, the German extermination camp in occupied Poland.
This is a selected bibliography and other resources for The Holocaust, including prominent primary sources, historical studies, notable survivor accounts and autobiographies, as well as other documentation and further hypotheses.
Czesława Kwoka was a Polish Catholic girl who was murdered at the age of 14 in Auschwitz. One of the thousands of minor child and teen victims of German World War II war crimes against ethnic Poles in German-occupied Poland, she is among those memorialized in an Auschwitz-Birkenau State Museum exhibit, "Block no. 6: Exhibition: The Life of the Prisoners".
The Höcker Album is a collection of photographs believed to have been collected by Karl-Friedrich Höcker, an officer in the SS during the Nazi regime in Germany. It contains over one hundred images of the lives and living conditions of the officers and administrators who ran the Auschwitz-Birkenau concentration camp complex. The album is unique and an indispensable document of the Holocaust; it is now in the archives of the United States Holocaust Memorial Museum (USHMM) in Washington, D.C.
Wilhelm Brasse was a Polish professional photographer and a prisoner in Auschwitz during World War II. He became known as the "famous photographer of Auschwitz concentration camp." His life and work were the subject of the 2005 Polish television documentary film The Portraitist (Portrecista), which first aired in the Proud to Present series on the Polish TVP1 on 1 January 2006.
The Auschwitz-Birkenau State Museum is a museum on the site of the Nazi German Auschwitz concentration camp in Oświęcim, Poland.
Forgiveness, also known as Esther's Diary, is a 2008 American dramatic Holocaust film written and directed by Polish-American director Mariusz Kotowski, with a screenplay by Allan Knee. The film is marked as being the director's first feature-length film.
The Majdanek State Museum is a memorial museum and education centre founded in the fall of 1944 on the grounds of the Nazi Germany Majdanek death camp located in Lublin, Poland. It was the first museum of its kind in the world, devoted entirely to the memory of atrocities committed in the network of concentration, slave-labor, and extermination camps and subcamps of KL Lublin during World War II. The museum performs several tasks including scholarly research into the Holocaust in Poland. It houses a permanent collection of rare artifacts, archival photographs, and testimony.
The Sonderkommando photographs are four blurred photographs taken secretly in August 1944 inside the Auschwitz concentration camp in German-occupied Poland. Along with a few photographs in the Auschwitz Album, they are the only ones known to exist of events around the gas chambers.
Blind Love: A Holocaust Journey Through Poland with Man's Best Friend is a 2015 documentary film about blind Israelis traveling to Poland with the help of their guide dogs, to learn about the Holocaust. Footage includes blind participants taking part in the 2012 and 2013 March of the Living programs. The film is narrated by Michael Enright of the Canadian Broadcasting Corp.
The March of the Living Digital Archive Project, begun in 2013, aims to gather Holocaust testimony from Canadian survivors who have participated in the March of the Living. Since 1988, Holocaust survivors have traveled to Poland with young students on the March of the Living to share their Holocaust stories in the locations they transpired.
The Ivanhorod Einsatzgruppen photograph is a prominent depiction of the Holocaust in Ukraine, on the Eastern Front of World War II. Dated to 1942, it shows a soldier aiming his rifle at a woman who is trying to shield a child with her body, portraying one of numerous genocidal killings carried out against Jews by the Einsatzgruppen within German-occupied Europe. It was taken in Ivanhorod, a village in German-occupied Ukraine, before being mailed to Nazi Germany. However, the Polish resistance intercepted the photograph in Warsaw, and it was subsequently kept as Holocaust imagery by Polish photographer Jerzy Tomaszewski. In the 1960s, it was alleged that the photograph was a communist forgery, but that claim was eventually proven false. Since then, it has been frequently used in books, museums, and exhibitions focused on the Holocaust. British photographic historian Janina Struk describes it as "a symbol of the barbarity of the Nazi regime and their industrial-scale murder of six million European Jews."
Photography of the Holocaust is a topic of interest to scholars of the Holocaust. Such studies are often situated in the academic fields related to visual culture and visual sociology studies. Photographs created during the Holocaust also raise questions in terms of ethics related to their creation and later reuse.
In German-occupied Poland during World War II and the Holocaust, the Politische Abteilung Erkennungsdienst in the Auschwitz concentration camp was a kommando of SS officers and prisoners who photographed camp events, visiting dignitaries, and building works on behalf of the camp's commandant, Rudolf Höss.