Midway through #uploading_holocaust, a group of Israeli high school students visiting a Polish concentration camp are asked to select the photograph that best symbolises their trip.

Bernard Dichek
Bernard Dichek is a Canadian-Israeli filmmaker and journalist living in Tel Aviv. He is a regular contributor to Modern Times Review.
Published date: November 22, 2016

A teenage girl chooses an image of the shadows belonging to a group of people standing outside. She explains her choice by saying that her generation lives in the shadows of the events that took place at this site. The image is indeed poignant and thought-provoking. It is also simple, understated, and subtle – the exact opposite of the heavy-handed and emotionally-drenched imagery which makes the majority of this YouTube-compiled documentary.

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#uploading_holocaust documents what has become Rite-of-Passage for many Israeli high schoolers – an Education Ministry supervised excursion to Poland’s Nazi extermination camps and killing grounds. The students are accompanied by teachers and professional Israeli guides, sometimes even Holocaust survivors – although this happens less and less, as most are no longer alive. The rationale of the Journey to Poland, as these trips are called, is fairly clear: to give teenagers a first-hand opportunity to see where six million Jews were killed during the Holocaust – an essential part of Jewish history and Israeli school curriculum.  But, what happens, when gas chambers and train boxcars are used as classrooms? What educational objectives are achieved, and do these lead to any unintended consequences?

We are supposed to feel something heavy.

To answer these questions, filmmakers Sagi Bornstein and Udi Nir compiled a 70-minute documentary based entirely on YouTube footage uploaded by the numerous participants of these trips. The only original content added by the filmmakers is some opening text and an original film score.

As #uploading_holocaust makes clear, quite often the tour guides and teachers are not satisfied with merely conveying the dry facts. They are eager to ensure that the youngsters undergo an emotional experience.  Some of the guides insist on making the students crowd into the preserved wooden boxcars as they explain how the overcrowding caused many of the victims to perish en route to the camps. They also make the students stand inside the still-intact gas chambers, as they describe how victims “clawed at the ceiling as they were consumed by the poisonous gases”; and ask the teenagers to march briskly from one location to another, whilst making them imagine what it would have been like to be there for real.


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