Films and the Holocaust
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1 For many, the Holocaust has become the most important historical event of the twentieth century. Indeed, it has become part of the American ex- perience, providing Americans a point of reference firmer even than the Civil War or Pearl Harbor. As a n extreme of human behavior, it informs not only the understanding of history but also contemporary politics as the international community strives to comprehend, prevent, or prose- cute programs of genocide, a term itself coined to describe the Nazis’ at- tempted extermination of the Jews. Images, especially cinematic ones, have been a crucial means for in- culcating public awareness of the Holocaust. Indeed, w idespread Western skepticism about Nazi crimes was decisively defeated by screening news- reels of the camps at the end of the war. More recently, several popular films, including Marv in J. Chomsky’ s Holocaust television miniseries ( ) and Steven Spielberg’s Schindler’s List ( ), further raised ma ss conscious- ness about the Holocaust. While these are reconstructions, audiences are also familiar with fragments of the original newsreel images, which have been recycl ed for both auth orial films, such as Ala in Resnais’ s semina l Night and Fog ( Nuit et brouillard [ ]), and TV documentaries, such as the final two parts of Thames TV’s World at War (“ The Final Solution,” directed by Michael Darlow ), to name but two. Yet rarely do we pause to reflect on the genesis of the newsreel images. This oversight masks an extraordinar y ignorance about the first mov - \ Introduction
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