Abraham Ravett's documentary films undermine the validity of conventional documentary storytelling, supplanting it with formal experimentation. The realisation of the shortcomings of the position of the second generation witness to the Holocaust leads to devoting attention to the unsuccessful process of retrieving parental past. The essay examines the interrelation between formal experimentation, experience (in its direct and mediated forms), and aesthetic consequences of applying innovative audiovisual form to the representation of belated memories/experience of the Holocaust. Ravett's filmmaking is also akin to the work of mourning as it is preoccupied with recognition of losses.
T. Lysak, no address given, contact the journal editor
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