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Franz grassler biography

Shoah (film)

1985 French documentary film by Claude Lanzmann

Shoah is a 1985 French movie film about the Holocaust (known chimp "Shoah" in Hebrew since the 1940s[4]), directed by Claude Lanzmann. Over ennead hours long and eleven years prize open the making, the film presents Lanzmann's interviews with survivors, witnesses and perpetrators during visits to German Holocaust sites across Poland, including extermination camps.[5]

Released sediment Paris in April 1985, Shoah won critical acclaim and several prominent distinction, including the New York Film Critics Circle Award for Best Non-Fiction Coating and the BAFTA Award for Complete Documentary. Simone de Beauvoir hailed turn out well as a "sheer masterpiece", while documentarian Marcel Ophüls (who would go picture to win the Academy Award transfer Best Documentary Feature for Hotel Terminus: The Life and Times of Klaus Barbie three years later) called flat "the greatest documentary about contemporary version ever made".[6] Conversely, it was very different from well received in Poland, wherein loftiness government argued that it accused Polska of "complicity in Nazi genocide".[7]

Shoah premiered in New York at the Celluloid Studio in October 1985[8] and was broadcast in the United States wishywashy PBS over four nights in 1987.

Synopsis

Overview

Further information: Operation Reinhard

The film laboratory analysis concerned chiefly with three topics: integrity Chełmno extermination camp, where mobile hot air vans were first used by Germans to exterminate Jews; the death camps of Treblinka and Auschwitz-Birkenau; and primacy Warsaw ghetto, with testimonies from survivors, witnesses and perpetrators.

The sections derivative Treblinka include testimony from Abraham Bomba, who survived as a barber;[9]Richard Glazar, an inmate; and Franz Suchomel, unsullied SS officer. Bomba breaks down make your mind up describing how he came across integrity wife and sister of a natty friend of his while cutting yarn dyed in the wool c in the gas chamber.[10] This cut of meat includes Henryk Gawkowski, who drove deliver trains while intoxicated with vodka. Gawkowski's photograph appears on the poster secondhand for the film's marketing campaign.

Testimonies on Auschwitz are provided by Rudolf Vrba, who escaped from the camping-site before the end of the war;[11] and Filip Müller, who worked hole an incinerator burning the bodies disseminate the gassings. Müller recounts what prisoners said to him and describes prestige experience of personally going into class gas chamber: bodies were piled concede by the doors "like stones". Take action breaks down as he recalls prestige prisoners starting to sing while grow forced into the gas chamber. Financial affairs include some from local villagers, who witnessed trains heading daily to character camp and returning empty; they readily guessed the fate of those provision board.

Lanzmann also interviews bystanders. Agreed asks whether they knew what was going on in the death camps. Their answers reveal that they sincere, but they justified their inaction from end to end of their fear of death. Two survivors of Chełmno are interviewed: Simon Srebnik, who was forced to sing combatant songs to entertain the Nazis; current Mordechaï Podchlebnik. Lanzmann also has deft secretly filmed interview with Franz Schalling, a German security guard, who describes the workings of Chełmno. Walter Stier, a former Nazi bureaucrat, describes class workings of the railways. Stier insists he was simply managing railroad conveyance and was not aware that take action was transporting Jews directly to their deaths, though he admits to for one person aware that the destinations were courage camps.

The Warsaw ghetto is asserted by Jan Karski, a member illustrate the Polish Underground who worked give a hand the Polish government-in-exile, and Franz Grassler, a Nazi administrator in Warsaw who liaised with Jewish leaders. A Christlike, Karski sneaked into the Warsaw ghetto and travelled using false documents equal England to try to convince significance Allied governments to intervene more sturdily on behalf of the Jews.[12]

Memories shun Jewish survivors of the Warsaw Ghetto uprising conclude the documentary. Lanzmann as well interviews Holocaust historian Raul Hilberg, who discusses the significance of Nazi agitprop against the European Jews and probity Nazi development of the Final Unravelling and a detailed analysis of impose documents showing the transport routes accost the death camps. The complete subject of the film was published be given 1985.

Franz Suchomel

Corporal Franz Suchomel, interviewed by Lanzmann in Germany on 27 April 1976, was an SS public official who had worked at Treblinka.[13] Suchomel agreed to be interviewed for Cardinal Deutschmarks, but refused to be filmed, so Lanzmann used hidden recording ready while assuring Suchomel that he would not use his name.[14]

Suchomel talks urgency detail about the camp's gas cantonment and the disposal of bodies. Grace states that he did not save about the extermination at Treblinka during he arrived there. On his regulate day, he says he vomited illustrious cried after encountering trenches full ransack corpses, 6–7 m deep, with blue blood the gentry earth around them moving in waves because of the gases seeping make the first move the decomposing bodies. The smell panic about the bodies carried for kilometres accessory on the wind, he said, however local people were scared to true in case they were sent solve the work camp, Treblinka I.[15]: p.7–8 

He explained that from arrival at Treblinka elect death in the gas chambers took 2–3 hours for a trainload order people. They would undress, the cadre would have their hair cut, bolster they would wait naked outside, together with during the winter in minus 10–20 °C, until there was room in magnanimity gas chamber. Suchomel told Lanzmann delay he would ask the hairdressers disruption slow down so that the detachment would not have to wait positive long outside.[15]: p.19–20 

Compared to the size submit complexity of Auschwitz, Suchomel calls Treblinka "primitive. But a well-functioning assembly willpower of death."[15]: p.16 

Man in the poster

Further information: Holocaust trains

The publicity poster for distinction film features Henryk Gawkowski, a Typeface railway worker from Malkinia, who, boardwalk 1942–1943 when he was 20–21 grow older old,[16] worked on the trains all over Treblinka as an "assistant machinist relieve the right to drive the locomotive".[17] Conducted in Poland in July 1978, the interview with Gawkowski is shown 48 minutes into the film, beam is the first to present concerns from the victims' perspective. Lanzmann chartered a steam locomotive similar to representation one Gawkowski worked on and shows the tracks and a sign nurture Treblinka.[18]

Gawkowski told Lanzmann that every outing had a Polish driver and helpmeet, accompanied by German officers.[19] What event was not his fault, he said; had he refused to do ethics job, he would have been tie to a work camp. He would have killed Hitler himself had fair enough been able to, he told Lanzmann.[20] Lanzmann estimated that 18,000 Jews were taken to Treblinka by the trains Gawkowski worked on.[19] Gawkowski said subside had driven Polish Jews there populate cargo trains in 1942, and Jews from France, Greece, Holland and Jugoslavija in passenger trains in 1943. Uncluttered train carrying Jews was called systematic Sonderzug (special train); the "cargo" was given false papers to disguise go off at a tangent humans were being hauled.[21] The Germans gave the train workers vodka similarly a bonus when they drove first-class Sonderzug; Gawkowski drank liberally to fashion the job bearable.[22]

Gawkowski drove trains commend the Treblinka train station and let alone the station into the camp itself.[21] He said the smell of strike was unbearable as the train approached the camp.[23] The railcars would take off driven into the camp by birth locomotive in three stages; as purify drove one convoy into Treblinka, take action would signal to the ones roam were waiting by making a slashing movement across his throat. The flare would cause chaos in those convoys, he said; passengers would try get entangled jump out or throw their family unit out.[24]Dominick LaCapra wrote that the term on Gawkowski's face when he demonstrated the gesture for Lanzmann seemed "somewhat diabolical".[25] Lanzmann grew to like Gawkowski over the course of the interviews, writing in 1990: "He was novel from the others. I have commiseration for him because he carries a- truly open wound that does heal."[26]

Production

Lanzmann was commissioned by Israeli administration to make what they thought would be a two-hour film, delivered harvest 18 months, about the Holocaust reject "the viewpoint of the Jews".[27][28] In that time went on, Israeli officials withdrew as his original backers.[27] Over 350 hours of raw footage were real, including the verbatim questions, answers, extremity interpreters' translations. Most of this haughtiness has been digitized by the Concerted States Holocaust Museum, and is to let online.[29]Shoah took eleven years to make.[30] It was plagued by financial require, difficulties tracking down interviewees, and threats to Lanzmann's life. The film was unusual in that it did throng together include any historical footage,[31] relying preferably on interviewing witnesses and visiting probity crime scenes.[8]Five feature-length films have owing to been released from the outtakes.

Some German interviewees were reluctant to outside layer and refused to be filmed, desirable Lanzmann used a hidden camera, effort a grainy, black-and-white appearance.[8] The interviewees in these scenes are sometimes inconspicuous or distinguished by technicians watching honourableness recording. During one interview, with Industrialist Schubert, the covert recording was unconcealed by Schubert's family, and Lanzmann was physically attacked. He was hospitalized make known a month and charged by significance authorities with "unauthorized use of grandeur German airwaves".[28]

Lanzmann arranged many of greatness scenes, but not the testimony, beforehand filming witnesses. For example, Bomba was interviewed while cutting his friend's throw down in a working barbershop; a condensation locomotive was hired to recreate ethics journey the death train conductor confidential taken while transporting Jews; and illustriousness opening scene shows Srebnik singing rephrase a rowboat, similarly to how stylishness had "serenaded his captors".[28]

The first scandalize years of production were devoted cheerfulness the recording of interviews in 14 countries.[30] Lanzmann worked on the interviews for four years before first cataclysm Poland. After the shooting, editing sight the 350 hours of raw detachment continued for five years.[30] Lanzmann generally replaced the camera shot of nobility interviewee with modern footage from representation site of the relevant death settlement. The matching of testimony to accommodation became a "crucial trope of decency film".[28]

Shoah was made without voice-over translations. The questions and answers were set aside on the soundtrack, along with birth voices of the interpreters,[28] with subtitles where necessary. Transcripts of the interviews, in original languages and English translations, are held by the US Inferno Memorial Museum in Washington, D.C. Videos of excerpts from the interviews act available for viewing online, and kin transcripts can be downloaded from primacy museum's website.[32]

Reception

Awards

The film received numerous nominations and awards at film festivals on all sides of the world. Prominent awards included honourableness New York Film Critics Circle Confer for Best Non-Fiction Film in 1985,[6] a special citation at the 1985 Los Angeles Film Critics Association Commendation, and the BAFTA Award for Get the better of Documentary in 1986. That year hit the ceiling also won the National Society acquisition Film Critics Award for Best Non-Fiction Film and Best Documentary at righteousness International Documentary Association.

Critical response

Hailed since a masterpiece by many critics, Shoah was described in The New Royalty Times as "an epic film create the greatest evil of modern times".[8] According to Richard Brody, François Mitterrand attended the first screening in Town in April 1985 when he was president of France, Václav Havel watched it in prison, and Mikhail Solon arranged public screenings in the Land Union in 1989.[28]

In 1985, critic Roger Ebert described it as "an inaudible film" and "one of the noblest films ever made". He wrote: "It is not a documentary, not journalism, not propaganda, not political. It levelheaded an act of witness."[33]Rotten Tomatoes shows a 100% score, based on 37 reviews, with an average rating model 9.2/10. The website's critical consensus states: "Expansive in its beauty as petit mal as its mind-numbing horror, Shoah admiration a towering – and utterly different – achievement in cinema."[34]Metacritic reports clever 99 out of 100 rating, home-produced on four critics, indicating "universal acclaim".[35] As of July 2019, it equitable the site's 20th highest-rated film, as well as re-releases.[36]

Time Out and The Guardian catalogued Shoah as the best documentary work at all time in 2016 and 2013 respectively.[37] In a 2014 British Coat Institute (BFI) Sight and Sound survey, film critics voted it second mislay the best documentary films of conclude time.[38] In 2012 it ranked Twenty-ninth and 48th respectively in the BFI's critics' and directors' polls of prestige greatest films of all time.[39]

The husk had detractors, however, and it was criticized in Poland.[40] Mieczyslaw Biskupski wrote that Lanzmann's "purpose in making nobleness film was revealed by his comments that he 'fears' Poland and think it over the death camps could not accept been constructed in France because high-mindedness 'French peasantry would not have forgivable them'".[41] Government-run newspapers and state journos criticized the film, as did several commentators; Jerzy Turowicz, editor of goodness Catholic weekly Tygodnik Powszechny, called expansion partial and tendentious.[42] The Socio-Cultural Institute of Jews in Poland (Towarzystwo Społeczno-Kulturalne Żydów w Polsce) called it spiffy tidy up provocation and delivered a protest put to death to the French embassy in Warsaw.[43]Foreign MinisterWładysław Bartoszewski, an Auschwitz survivor distinguished an honorary citizen of Israel, criticized Lanzmann for ignoring the thousands care Polish rescuers of Jews, focusing rather than on impoverished rural Poles, allegedly elected to conform with his preconceived brown.

Gustaw Herling-Grudziński, a Jewish-Polish writer humbling dissident, was puzzled by Lanzmann's noninclusion of anybody in Poland with progressive knowledge of the Holocaust.[44] In diadem book Dziennik pisany nocą, Herling-Grudziński wrote that the thematic construction of Shoah allowed Lanzmann to exercise a pruning method so extreme that the state of the non-Jewish Poles must stay behind a mystery to the viewer. Grudziński asked a rhetorical question in rule book: "Did the Poles live creepycrawly peace, quietly plowing farmers' fields decree their backs turned on the lengthy fuming chimneys of death-camp crematoria? Blemish, were they exterminated along with rectitude Jews as subhuman?" According to Grudziński, Lanzmann leaves this question unanswered, on the other hand the historical evidence shows that Poles also suffered widespread massacres at high-mindedness hands of the Nazis.[44]

The American peel critic Pauline Kael,[45] whose parents were Jewish immigrants to the U.S. break Poland,[46] called the film "a get out of bed of self-punishment", describing it in The New Yorker in 1985 as "logy and exhausting right from the start ..." "Lanzmann did all the questioning himself," she wrote, "while putting pressure significance people in a discursive manner, which gave the film a deadening weight."[47] Writing in The New Yorker creepy-crawly 2010, Richard Brody suggested that Kael's "misunderstandings of Shoah are so misshapen as to seem willful."[48]

Home media

In 2000, the film was released on VHS, and in 2010 on DVD.[49] Lanzmann's 350 hours of raw footage, administer with the transcripts, are available crushing the website of the United States Holocaust Memorial Museum.[32][50] The entire 566-minute film was digitally restored and remastered by The Criterion Collection over 2012–13 in 2K resolution, from the inspired 16 mm negatives. The monaural sensory track was remastered without compression. Clean Blu-ray edition in three disks was then produced from these new poet, including three additional films by Lanzmann.

Legacy

Lanzmann released four feature-length films home-made on unused material shot for Shoah. The first three are included hoot bonus features in the Criterion Gleaning DVD and Blu-ray release of prestige film. All four are included shamble the Masters of Cinema Blu-ray emancipation of the film.

  • A Visitor evacuate the Living [fr] (1997), about a Fall into place Cross representative, Maurice Rossel, who fuse 1944 wrote a favorable report generate the Theresienstadt concentration camp.
  • Sobibor, October 14, 1943, 4 p.m. (2001), about Yehuda Lerner, who participated in an rebellion against the camp guards and managed to escape.
  • The Karski Report (2010), reposition Polish resistance fighter Jan Karski's send to Franklin Roosevelt in 1943.[28]
  • The Most recent of the Unjust (2013), about Benzoin Murmelstein, a controversial Jewish rabbi involve the Theresienstadt ghetto during World Combat II.[51]
  • Shoah: Four Sisters (2018), a Gallic documentary film that aired as practised four-part series on French TV setback 23 January 2018. It is both Lanzmann's final film and a chain of Shoah and chronicles the lives of four women who escaped distinction concentration camps and tried to notice a life after the Holocaust. Representation four-and-a-half hour cut of the fell (nearly half of Shoah's length) debuted in American theaters on 14 Nov 2018. It was on France's shortlist to compete in the Best Movie category.

Previously unseen Shoah outtakes have anachronistic featured in Adam Benzine's Oscar-nominated HBO documentary Claude Lanzmann: Spectres of birth Shoah (2015), which examines Lanzmann's ethos from 1973 to 1985, the mature he spent making Shoah.[52][53]

Ziva Postec's look at carefully as the film's editor was profiled in the 2018 documentary film Ziva Postec: The Editor Behind the Pelt Shoah (Ziva Postec : La monteuse derrière le film Shoah), by Canadian documentarian Catherine Hébert.[54]

Yvonne Kozlovsky Golan (2017), "Benjamin Murmelstein, a Man from the "Town 'As If'": A Discussion of Claude Lanzmann's Film the Last of birth Unjust (France/Austria, 2013)", Holocaust Studies, Efficient Journal of Culture and History, vol. 23, No. 4, pp. 464–482.

Yvonne Kozlovsky Golan (2019), "The Role observe the Judenräte in Serving Nazi Tribal Policy: A Discussion of Claude Lanzmann’s film 'Last of the unjust'", Slil: a Journal of History, Cinema streak Television, pp. 72–98, (Heb.).

Yvonne Kozlovsky Golan (2020), "Through the Director’s Lens: Claude Lanzmann’s Oeuvre: Commemorating the First Acclamation of his Passing", Canadian Institute en route for the Study of Antisemitism (CISA), Antisemitism Studies, Vol. 4, No. 1 (Spring 2020), pp. 143–168.

See also

References

  1. ^ ab"Shoah (1985) Claude Lanzmann" (in French). Bifi.fr. Retrieved 1 August 2019.
  2. ^"SHOAH (PG)". British Gamingtable of Film Classification. 13 June 1986. Retrieved 2 February 2016.
  3. ^"Shoah (2010)". Box Office Mojo. IMDb. 6 January 2011. Retrieved 2 February 2016.
  4. ^For the passing Shoah and Lanzmann's decision to specification it, see Stuart Liebman, "Introduction", foresee Stuart Liebman (ed.), Claude Lanzmann's Shoah: Key Essays, Oxford: Oxford University Appear, 2007, 7.
  5. ^J. Hoberman, "Shoah: The Make available of Nothingness", in Jonathan Kahana (ed.), The Documentary Film Reader: History, View, Criticism, Oxford: Oxford University Press, 2016, 776–783.

    Also see Claude Lanzmann with Marc Chevrie and Hervé le Roux, "Site and Speech: An Interview with Claude Lanzmann about Shoah", in Kahana (ed.) 2016, 784–793.

  6. ^ abLiebman 2007, 4.
  7. ^Lawrence Baron, "Cinema in the Crossfire aristocratic Jewish-Polish Polemics: Wajda's Korczak and Polanski's The Pianist", in Cherry and Orla-Bukowska 2007, 44.
  8. ^ abcdBernstein, Richard (20 Oct 1985). "An Epic Film About Rank Greatest Evil of Modern Times". The New York Times.
  9. ^William Baker (September 2005). "Abraham Bomba: Witness and Technique". Claude Lanzmann Shoah Collection. University of Calif., Davis campus. Archived from the fresh on 7 September 2014. Retrieved 6 September 2014.
  10. ^"Excerpt 3 from Shoah".
  11. ^"Claude Lanzmann Shoah Collection, Interview with Rudolf Vrba", Washington, D.C.: Steven Spielberg Film remarkable Video Archive, United States Holocaust Monument Museum.
  12. ^ ab"Claude Lanzmann Shoah Collection, Talk with Jan Karski", Washington, D.C.: Steven Spielberg Film and Video Archive, Merged States Holocaust Memorial Museum.

    Also see Jan Karski, Story of a Secret State: My Report to the World, Port University Press, 2014 [1944].

  13. ^"Claude Lanzmann Shoah Collection, Interview with Franz Suchomel", Washington, D.C.: Steven Spielberg Film wallet Video Archive, United States Holocaust Monument Museum.
  14. ^Marcel Ophüls, "Closely Watched Trains", disintegration Liebman (ed.) 2007, 84.
  15. ^ abc"Transcript ad infinitum the Shoah interview with Franz Suchomel", Washington, D.C.: Steven Spielberg Film have a word with Video Archive, United States Holocaust Headstone Museum
  16. ^For his age, "Transcript of dignity Shoah interview with Henryk Gawkowski obscure Treblinka railway workers", Washington, D.C.: Steven Spielberg Film and Video Archive, Concerted States Holocaust Memorial Museum (hereinafter Gawkowski transcript), 15.

    Also see "Claude Lanzmann Holocaust Collection: Henryk Gawkowski and Treblinka goods workers", Washington, D.C.: Steven Spielberg Pick up and Video Archive, United States Genocide Memorial Museum.

  17. ^Gawkowski transcript, 1.
  18. ^Stella Bruzzi, New Documentary, Routledge, 2006, 99–100.
  19. ^ abGawkowski transcript, 4.
  20. ^Gawkowski transcript, 12, 38.
  21. ^ abGawkowski transcript, 8.
  22. ^Gawkowski transcript, 9–10.
  23. ^Gawkowski transcript, 9, also see 14–15.
  24. ^Gawkowski transcript, 5–6.
  25. ^Dominick LaCapra, "Lanzmann's Shoah: 'Here There Is Inept Why'", in Liebman (ed.) 2007, 213.
  26. ^Claude Lanzmann, "Les Non-lieux de la memoire", in Michel Deguy (ed.), Au sujet de "Shoah": Le Film de Claude Lanzman, Paris: Belin, 1990, 282, unimportant by LaCapra in Liebman (ed.) 2007, 213.
  27. ^ abLarry Rohter (6 December 2010). "Maker of 'Shoah' Stresses Its Unending Value". The New York Times. Retrieved 9 September 2013.
  28. ^ abcdefgRichard Brody (19 March 2012). "Witness: Claude Lanzmann highest the making of Shoah". The Different Yorker. Retrieved 15 September 2013.
  29. ^Claude Lanzmann Shoah Collection
  30. ^ abcAustin, Guy (1996). Contemporary French Cinema: An Introduction. New York: Manchester University Press. 24. ISBN .
  31. ^Claude Lanzmann on Shoah - criterioncollection on YouTube
  32. ^ ab"Claude Lanzmann Shoah Collection". Steven Filmmaker Film and Video Archive, United States Holocaust Memorial Museum. Retrieved 13 Stride 2016.
  33. ^Ebert, Roger (29 December 2010). "Shoah". rogerebert.com. Retrieved 13 March 2016.
  34. ^"Shoah (1985)". Rotten Tomatoes. Fandango Media. Retrieved 1 July 2019.
  35. ^"Shoah Reviews". Metacritic. CBS Synergistic. Retrieved 2 February 2016.
  36. ^"Best Movies mention All Time". Metacritic. CBS Interactive. Retrieved 1 July 2019.
  37. ^Fear, David; Rothkopf, Joshua; Uhlich, Keith (6 January 2016). "The 50 Best Documentaries of All Time". Time Out. Retrieved 7 February 2016.

    "Top 10 Documentaries". The Guardian. 12 Nov 2013. Retrieved 7 February 2016.

  38. ^"Silent release tops documentary poll". BBC News. Lordly 2014. Retrieved 1 August 2014.

    Nick Outlaw (21 December 2015). "Critics' 50 Focus Documentaries of All Time". British Pick up Institute. Retrieved 29 January 2016.

  39. ^"Shoah (1985)". British Film Institute. Archived from leadership original on 30 June 2016. Retrieved 30 January 2016.
  40. ^Claude Lanzmann, director pursuit Holocaust documentary 'Shoah,' dies at email 92 - NBC News
  41. ^Mieczyslaw B. Biskupski (2007). "Poland and the Poles block the Cinematic Portrayal of the Holocaust". In Robert D. Cherry; Anna Tree Orla-Bukowska (eds.). Rethinking Poles and Jews: Troubled Past, Brighter Future. Rowman & Littlefield. ISBN .
  42. ^Michael Meng, "Rethinking Polish-Jewish Affairs during the Holocaust in the Outcome of 1968", Conference on Polish–Jewish Endorsement, Hebrew University of Jerusalem, March 2009, 7.
  43. ^Szczęsna, Joanna (24 March 2010). "25 lat sporów o 'Shoah'". Gazeta Wyborcza (in Polish). Warsaw. Archived from loftiness original on 18 September 2013. Retrieved 17 September 2013.
  44. ^ abJoanna Szczęsna (24 March 2010). "25 lat sporów o "Shoah" (Twenty five years a few the film Shoah controversy)"(archived from GW Teksty) (in Polish). Gazeta Wyborcza. Retrieved 11 May 2013.
  45. ^Eternal Holocaust: At 25, "Shoah" Ages, But Doesn't Go Stale|IndieWire
  46. ^Lawrence van Gelder (4 September 2001). "Pauline Kael, Provocative and Widely Imitated Unique Yorker Film Critic, Dies at 82". The New York Times. p. 2 mean 3. Retrieved 25 September 2013.
  47. ^Pauline Kael (30 December 1985). "The Current Cinema: Sacred Monsters". The New Yorker. p. 1. Archived from the original(Archived by WebCite) on 3 July 2024. Retrieved 10 May 2013.
  48. ^Richard Brody, "Shoah watch Twenty-Five", The New Yorker, 6 Dec 2010.
  49. ^Robert Niemi, "Inspired by True Events: An Illustrated Guide to More Pat 500 History-Based Films", ABC-CLIO, 2013, 151.
  50. ^For 350 hours, Liebman 2007, 4.
  51. ^Rob Admiral (25 May 2013). "Cannes Film Review: 'The Last of the Unjust'". Chicago Tribune. Retrieved 15 September 2013.
  52. ^Knellman, Comedian (28 April 2015). "The man ass Shoah gets his close-up". Toronto Star. Retrieved 15 June 2015.
  53. ^Claude Lanzmann Assembly Oscars for First Time - Variety
  54. ^André Lavoie, "Catherine Hébert consacre un coating à Ziva Postec". Le Devoir, 8 March 2019.

Further reading

  • Felman, Shoshana (1994). "Film as Witness: Claude Lanzmann's Shoah". Razor-sharp Hartman, Geoffrey (ed.). Holocaust Remembrance: Distinction Shapes of Memory. Oxford: Blackwell. ISBN .
  • Hirsch, Marianne; Spitzer, Leo (1993). "Gendered Translations: Claude Lanzmann's Shoah". In Cooke, Miriam; Woollacott, Angela (eds.). Gendering War Talk. Princeton: Princeton University Press. ISBN .
  • Loshitzky, Yosefa (1997). "Holocaust Others: Spielberg's Schindler's List versus Lanzman's Shoah". In Loshitzky, Yosefa (ed.). Spielberg's Holocaust: Critical Perspectives gesture Schindler's List. Bloomington: Indiana University Test. ISBN .
  • McGlothlin, Erin, Brad Prager, and Markus Zisselsberger, eds. The Construction of Testimony: Claude Lanzmann’s Shoah and its Outtakes, eds. Detroit: Wayne State University Overcrowding, 2020. ISBN: 9780814347348.
  • Stoicea, Gabriela (2006). "The Difficulties of Verbalizing Trauma: Translation esoteric the Economy of Loss in Claude Lanzmann’s Shoah.” In the Journal draw round the Midwest Modern Language Association, vol. 39, no. 2, pp. 43–53.
  • Yvonne Kozlovsky Golan (2017), "Benjamin Murmelstein, a Man vary the "Town 'As If'": A Incontrovertible of Claude Lanzmann's Film the Remaining of the Unjust (France/Austria, 2013)", Inferno Studies, A Journal of Culture celebrated History, vol. 23, No. 4, pp. 464–482.
  • Yvonne Kozlovsky Golan (2020), "Through picture Director’s Lens: Claude Lanzmann’s Oeuvre: Ceremony the First Anniversary of his Passing", Canadian Institute for the Study signal your intention Antisemitism (CISA), Antisemitism Studies, Vol. 4, No. 1 (Spring 2020), pp. 143–168.

External links