大屠杀
行为性话语
证明
社会学
纪念
功能可见性
忏悔室
参与式文化
公民新闻
美学
媒体研究
代理(哲学)
惩罚性赔偿
后人
内存工作
讲故事
机构
辩证法
大众文化
实践
空格(标点符号)
视觉艺术
自治
计算机科学
数字文化
砖墙
自反性
审议
作者
Tom Divon,Tobias Ebbrecht-Hartmann
标识
DOI:10.1177/14614448251356453
摘要
TikTok has become a space where playfulness is the dominant lingo for engaging with serious subjects. On the platform, the Holocaust is mediated through meme-based performances like the #POVHolocaustChallenge, a trend that invited users to re-enact fictionalized memories of Holocaust victims. Our analysis of 250 videos identifies 3 types of Holocaust-related memetic narratives—mem(e)ories: (1) Testimonial Mem(e)ory, where “victims” testify from “heaven” as confessional storytelling; (2) Punitive Mem(e)ory, where “victims” choose to be sent back to the Holocaust as punishment; and (3) Escapist Mem(e)ory, where “victims” time travel from the 1940s to the present for a brief escape. Drawing on interviews with 15 creators and 7 Holocaust institution representatives, we argue that #POV challenges re-mediate past events, transform into education, and serve as a means for forging personal connections to the Holocaust. We introduce TikTok’s affordance of playability as a structural condition that governs participation, with users merging performative storytelling with remix culture and inscribing Holocaust (post)memory into their platformed experiences.
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