When representing the Holocaust, the slightest hint of narrative embellishment strikes contemporary audiences as somehow a violation against those who suffered under the Nazis. This anxiety is, at least in part, rooted in Theodor Adorno's dictum that "To write poetry after Auschwitz is barbaric." And despite the fact that he later reversed his position, the conservative opposition to all "artistic" representations of the Holocaust remains powerful, leading to the insistent demand that it be represented, as it really was.
And yet, whether it's the girl in the red dress or a German soldier belting out Bach on a piano during the purge of the ghetto in Schindler's List, or the use of tracking shots in the documentaries Shoah and Night and Fog, all genres invent or otherwise embellish the narrative to locate meaning in an event that we commonly refer to as "unimaginable." This wide-ranging book surveys and discusses the ways in which the Holocaust has been represented in cinema, covering a deep cross-section of both national cinemas and genres.
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About the Author
Table of Contents
AcknowledgmentsChapter 1 IntroductionChapter 2 The Realistic ImperativeChapter 3 The Holocaust as Dramatic SpectacleChapter 4 Defiance and ResistanceChapter 5 Holocaust Comedies?Chapter 6 Sadism and Sexual DevianceChapter 7 Body Genres I: Melodramatic Holocaust FilmsChapter 8 Body Genres II: Pornography and ExploitationChapter 9 Body Genres III: The Horror Genre and the HolocaustChapter 10 Holocaust Documentaries I: Telling Like It Really WasChapter 11 Holocaust Documentaries II: TestimonialsChapter 12 Holocaust Documentaries III: Personal DocumentariesChapter 13 Holocaust Documentaries IV: The Poetic DocumentaryChapter 14 Experimental Films I: Rituals of MemoryChapter 15 Experimental Films II: Lost and Found (Footage)FilmographyBibliography Index