The term papirene kinder appears around the great economic crisis of 1900, when a strong wave of emigration towards America left empty many Jewish homes, where only the photographs of children remained, Kids who rarely had the means to return back home. The wave of emigrants came from the world of small villages or of urban outskirts. The written letter was the only connection between the home village and the departed one, a letter that comes slow and seldom. The writer Victor Rusu illustrates this phenomenon: “Sometimes, supreme joy, there is also a photograph in the envelope. [...] Grandma did not break away from the picture not even in her sleep, she showed, crying, to the neighbors. "My children, papirene kinder," he added, crying and laughing. "Papirene kinder" [...] was one of the two music hits with which any klezmer band that went through the village went safe. The other song was "A Yiddishe Mame/ The Jewish Mother". " Paper children - the shadows of those who left - are representations of childhood / family, photographs that become present by their sentimental value. A special case concerns children of the Holocaust, whether those who died or those who survived without parents. Photos, lights and shadows of past worlds, fragments of life. These photos have a life and they live as long as someone loves them, or remember someone's name, sot hey will always be alive. (extracts from "Papirene kinder" - the shadows of those who left, in Anca Ciuciu (Tudorancea), Visual Codes. The Jews from Bucharest 1881 - 1941, Bucharest, Hasefer Publishing House, 2013).