.. ever cut me as sharply, deeply, instantaneously” (Shandler 1999, 212). Susan Sontag reveals in this statement that Holocaust victims are chronically re-victimised by the manner they are represented in films. This paper is an attempt to discuss Sontag’s argument in relation to the documentary film Night and Fog. Night and Fog by Alain Resnais Night and Fog uses a French storyteller alongside contemporary perspectives and archival film recordings of the concentration camps. The documentary film also hosts several still photographs (Knobler 2008). A major issue explored in the film is the opposition between the desolated, wretched camps at present and the different atrocities they witnessed in the 1940s. A secondary issue is the manner in which the atrocious Nazis were not inherently distinct from other human beings in most cases. The documentary film is sketchy, and not strictly sequential. It opens up with vivid footages of present-day camp sites, a harmless environment populated with rubbles, abandoned buildings, and wild flowers. An unforgettable episode at the onset displays how the entry to the concentration camp looked like to a World captive (Aufderheide 2007). With a measured narrative style, the initial part of the film progresses from the first instances of Nazi power to arrest all over Europe, and the appalling realities of camp existence. Sprinkled with gruesome images from the 1940s are several photographs of present-day camps. They look like threadbare artefacts of a historic period. The last part of the documentary film emphasises the concentration camps as places of inhumane events and mass slaughter. Himmler then appears to readdress the intention of the concentration camps (Shandler 1999). The horrendous images of mass extermination are documented and shown in various ways: containers loaded with victims’ heads, partially incinerated remains in funeral pyres, and signs of struggles and pain on the inner entrails of the gas chambers. A haunting aerial photograph of a concentration camp in the 1940s confers a ghostly feeling of the immensity of the whole venture (Aufderheide 2007). The documentary film ends with images of the concentration camps being freed, and the perpetrators facing legal proceedings. The narrator afterwards informs the audience that this kind of inhumane desires and actions persist until now. Night and Fog fuses a controlled narrative style with memorable vivid photographs and scenes. Transitioning from archival footage to the current condition of these places of dread is remarkably successful. However, in spite of its power and influence, the documentary film raises a number of dilemmas. The general premise that resulted in the concentration camps is overlooked. Hence, the act of genocide presents a more methodical, but never an exceptional, concern for this subject matter. Susan Sontag, on a similar vein, sees this whole enterprise in a more reflective and scholarly way. Looking at Night and Fog through Susan Sontag’s Arguments It is the argument of this paper that there will always be a moment in the existence of a civilisation which will endure a tremendous predicament, where in there emerges a discourse of traumatic memory. The relevance of Susan Sontag’s argument to Night and Fog overcomes the factual allusion to specific experience of
Re-victimisation of Holocaust Survivors in the Contemporary Filmic Landscape Introduction Filmmakers’ exploitation of the Holocaust as an underlying moral perspective assumes varied forms. In a number of cases, filmmakers’ use of the Holocaust has turned into an issue of fierce debate, illustrating the power of the film as a cultural instrument and the degree to which the Holocaust is depicted on screen has itself turned into a subject of public outcry…
The main hatred was especially, directed towards the Jews who apart from being considered inferior to the host country members. They were also considered a threat to the economy, though this was merely an impression. With the need to maintain the group ‘purity,’ there as need the ethnic cleansing.
Its landscape is dramatic as it is famous for its outback, the secluded lands of the interior (Duncan, Nuala, and Richard 78). For example, the desert outback’s covers the largest part of the interior, and stands out as too hot, barren and cannot support many people.
This article also includes contemporary trends of crime prevention through the effort of evaluating victimisation with the support of relevant literatures.
Generally, crime is understood to be a certain behaviour that is prohibited by criminal law. In simple words, no act can be considered a crime, irrespective of how immoral or damaging it may be, unless it has been made criminal by state legislation.
In the very first chapter, Friedlander mentions that while eugenics was not peculiar to Germany, the political and scientific community was more radical in that country. In the ninteenth and early twentieth century, eugenics was a bonafide science and received poltical support.
those who were physically or mentally disabled, the mentally insane, or of other ethnic races such as Roma and Gypsies, in addition to anyone deemed a prisoner of war were subjected to either forced labor and near-starvation in the concentration and death camps in Europe, or
However, the author points out that, legal frameworks have the chance to alter the mind of perpetrators with the decisions made (Marie 34). It is an obvious assumption that every nation has a legal framework that towers above the
What a professional should do, what mustn’t they do how can they ensure they act professionally in meeting their responsibilities with respect to the law.
. Emergence of new technological paradigms has resulted in development
it’s a fundamental reality that an attempted abortion seeks to terminate the unborn child’s life and the guilt following the failed attempt silences those affected. Sadly, many failed cases of abortion do not result in a long live for the ensuing baby due to complications
2 pages (500 words)Essay
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