Film and the Holocaust : new perspectives on dramas, documentaries, and experimental films

"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."--Bloomsbury Publishing. Machine generated contents note: 1.Introduction 2.The Realistic Imperative 3.The Holocaust as Dramatic Spectacle 4.Defiance and Resistance 5.Holocaust Comedies? 6.Sadism and Sexual Deviance 7.Body Genres I: Melodramatic Holocaust Films 8.Body Genres II: Pornography and Exploitation 9.Body Genres III: The Horror Genre and the Holocaust 10.Holocaust Documentaries I: Telling It Like It Really Was 11.Holocaust Documentaries II: Testimonials 12.Holocaust Documentaries III: Personal Documentaries 13.Holocaust Documentaries IV: The Poetic Documentary 14.Experimental Films I: Rituals of Memory 15.Experimental Films II: Lost and Found (Footage).