Reading German Jewry through Vernacular Photography: From the Kaiserreich to the Third Reich

Abstract

AbstractBuilding on a generation of scholarship that argues that an understanding of German Jewish life must move beyond debates over terms—assimilation, acculturation, integration, subcultures, and symbiosis—this article uses three photograph albums created by the Wassermann family of Bamberg, in conjunction with the written record, to suggest an alternative interpretive framework for understanding the complexity of German Jewish lives in the first third of the twentieth century. Rethinking this history through a close analysis of photographs and photograph albums is particularly productive because even if photography and album-making were ubiquitous practices throughout the twentieth century, the special affinity of Jews for photography has been well-documented. Their paradoxical historic experience—including ghettoization and forced migration, on the one hand, and powerful feelings of “at-homeness” in their various diasporic dwelling places, on the other, in combination with the specificities of Jewish religious practice—has given Jews a particular relation to time and to place, a relation sometimes made manifest in photography. That relation is, furthermore, historical, changing with each context in which Jews find themselves living.