Introduction
However, all of these presentations of survivors’ accounts of their past are shaped both by the individual act of remembering and by the medium, protocols, forum, and context in which these accounts are created and encountered. Mediation is inherent in remembering the Holocaust—even for survivors—and understanding how it informs works of Holocaust remembrance is vital to appreciating their value. Indeed, some Holocaust survivors attest to relying on other mediations for an understanding of their own past.
Dorit Whiteman, who had fled her native Austria before the start of the war, recalls that she first became aware of the “real, full extent” of the Holocaust in a movie theater in the United States, where she saw a newsreel containing footage of conditions recently liberated concentration camps. Harriet Solz, who had worked in a factory owned by Oskar Schindler during the war, remembers questioning her own recollections of her wartime experiences after reading Thomas Keneally's book Schindler’s List (originally titled Schindler’s Ark), when it was published in 1982.
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