Photography, memory and identity: the émigré photographer Lisel Haas (1898-1989)

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Schulman11MPhil.pdf

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/3457 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/3457 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/3457 archive 4031 disk0/00/00/14/42 2011-03-11 11:43:26 2019-01-23 09:54:11 2011-07-19 16:36:12 thesis show 0 Shulman Amy Vinzent Jutta ftp://ubira.bham.ac.uk/eTheses/1442_Shulman/ University of Birmingham Photography, memory and identity: the émigré photographer Lisel Haas (1898-1989) unpub TR D839 NX 10col_artl Photographs reproduced with permission of the Estate of Lisel Haas and the National Portrait Gallery Photographs reproduced with permission of Dorothy Williams (Haas' niece) and Tom Morgan, Head of Rights & Reproductions, National Portrait Gallery This thesis explores the work of the German-Jewish photographer, Lisel Haas (1898 – 1989). It focuses on a selection of her portrait photographs spanning a period of almost 40 years, from before the Second World War to the early 1970s. Haas’s work has not been the focus of any publication to date; this thesis situates her within the fields of photography and exile studies by focusing on the significance of memory and identity. This approach places Haas within émigré photography rather than exile photography. The latter places emphasis on political persecution; this study rather concentrates on the formation of memory and identity of an émigré. The present work has utilised the extensive archival material of the uncatalogued Lisel Haas Collection at the Birmingham City Archives in order to construct a contextual basis for Haas’s work. This thesis has been influenced primarily by the work of Annette Kuhn and Marianne Hirsch whose research has developed an understanding of the significance of the relationship between photography and memory, particularly in light of the Holocaust. The study introduces an original approach to Haas’s work; it examines the role of photography in memory at the time of the Holocaust, developing a discussion surrounding the creation of memories in family photography before exploring the role of the photograph in the construction of the photographer’s identity. 2011-07 2010-09 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Amy Shulman Estate of Lisel Haas National Portrait Gallery public 132 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies m_ph na 2011-07 graduation