Relevant bibliographies by topics / Shoah – film

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shoah – film'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Shoah – film"

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Brinkley, Robert, and Steven Youra. "Tracing Shoah." PMLA/Publications of the Modern Language Association of America 111, no. 1 (January 1996): 108–27. http://dx.doi.org/10.2307/463137.

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It is often said that the Shoah cannot be represented. But viewers can learn from Claude Lanzmann's film Shoah how the events referred to as the Shoah produce a reference to themselves. The film presents a montage of encounters, of unanticipated details discovered in filming, of instances selected and arranged as openings to other encounters not included in Shoah. Through careful choreography, the film invites the return of signs from the past. Shoah offers a way of seeing and invites encounters that—like the filmmaker's arrangements—are open to the force of evidence as that evidence constrains interpretative response. Lanzmann's stance, an openness to significance that precedes interpretation, provides a model for a viewer's relationship to Shoah and its material, to the otherness that addresses the audience through the film. In tracing what can be traced and in filming what can be witnessed, Shoah can turn spectators into producers in the work of bearing witness.
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Lee, Kyoung-Jin. "Beyond the Prohibition of Images: The Representation of the Unrepresentable in the Film Son of Saul." Sookmyung Research Institute of Humanities 12 (October 31, 2022): 209–40. http://dx.doi.org/10.37123/th.2022.12.209.

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Direct representation of genocide has long been considered taboo in Holocaust cinema. In particular, the ‘image prohibition’ claimed by Claude Lanzmann, the director of Shoah, a milestone film in Holocaust film history, had a tremendous effect on artistic work concerning the Holocaust. However, Nemes László's film Son of Saul (2015) convincingly refutes the prevalent concerns about visual representation of Shoah. It manages to reconstruct the experience of a Sonderkommando member, a key witness of the Holocaust, by the careful arrangement of the camera's views, depth of field, and sound. To do this, the director takes seriously the issues regarding the Holocaust's unrepresentability, rather than ignoring or disputing them. If Shoah cannot be portrayed, it is because Shoah is a double annihilation in that it annihilated the Jews as well as the evidences of their annihilation. The film shows how the Nazi's destruction of representability can be placed in the order of representation at the level of not only film aesthetics but also narrative.
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Edholm, Felicity. "SHOAH: A FILM BY CLAUDE LANZMANN." History Workshop Journal 25, no. 1 (1988): 204–6. http://dx.doi.org/10.1093/hwj/25.1.204.

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Graff, Séverine. "Les premiers survivants du judéocide dans le documentaire français : témoignages ou mises en scène cathartiques?" Didactica Historica 3, no. 1 (2017): 27–34. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.27.

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Le Temps du ghetto (Frédéric Rossif) and Chronique d’un été (Jean Rouch and Edgar Morin), both released in 1961, are the first French documentary films featuring Jewish survivors recounting their persecutions during World War 2 in front of a camera. The appearance of Shoah survivors in cinema is commonly assessed as a consequence of the 1961 Eichmann trial. This article aims to take a different stance, highlighting the mise-en-scène of these two particular films, which invite a survivor to symbolically relive his traumatic past in front of the film crew and showing that this cathartic process is used similarly twenty years later in selected sequences of Claude Lanzmann’s Shoah.
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Redeker, Robert. "Le film Shoah en classe de philosophie." Commentaire Numéro70, no. 2 (1995): 287. http://dx.doi.org/10.3917/comm.070.0287.

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Wolfson, Jeffrey E. "The Jew Uncut: Circumcising Holocaust Representation in Europa Europa." Humanities 10, no. 2 (April 7, 2021): 64. http://dx.doi.org/10.3390/h10020064.

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Film adaptations invariably yield insights into their written source material, at least to the extent that they elect to translate or omit what may be deemed the literature’s essential components. This is certainly the case for director Agnieszka Holland’s 1990 film, Europa Europa, which adapts Solomon Perel’s account of surviving the Shoah. By drawing on discourse in Holocaust studies and adaptation studies, and by examining the film adaptation’s points of alignment with what Perel records in his memoir, I argue that Europa Europa resists the dominant trend of de-Judaizing the Shoah in artistic representation. Europa Europa privileges explicitly Jewish content and an unmistakably Jewish point of view by focusing on the theme of circumcision. In doing so, the film succeeds in highlighting how the Shoah was, at its core, a campaign to annihilate not just the Jewish people, but also the longstanding principle of the Jewish covenant with the Eternal, as embodied by circumcision. Through its cutting and reshaping of the memoir’s details, Holland’s film seeks to establish a covenant with the viewer to bear witness to the Jewish spirit of the survivor’s testimony. The film presents a model for representing the Holocaust in art, a model that masterfully defies the de-Judaization of society that the Nazis envisioned and tried to make real.
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Hebding, Rémy. "« Shoah » ou la résurrection d'une parole [À propos du film Shoah de Claude Lanzmann]." Autres Temps. Les cahiers du christianisme social 13, no. 1 (1987): 91–92. http://dx.doi.org/10.3406/chris.1987.1149.

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Olin, Margaret. "Lanzmann's Shoah and the Topography of the Holocaust Film." Representations 57, no. 1 (January 1997): 1–23. http://dx.doi.org/10.1525/rep.1997.57.1.99p0353t.

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Olin, Margaret. "Lanzmann's Shoah and the Topography of the Holocaust Film." Representations 57 (January 1, 1997): 1–23. http://dx.doi.org/10.2307/2928661.

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Esquenazi, Jean-Pierre. "Qu’est-ce que tu as vu à Chelmno? Shoah, un monumentaire." Hors dossier / Miscellaneous 12, no. 1 (October 31, 2007): 147–65. http://dx.doi.org/10.7202/024872ar.

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RÉSUMÉ Shoah pose un problème à la théorie du documentaire, dans la mesure où le film ne se présente pas comme l'enregistrement du réel par un Je-origine (lui-même réel). À l'inverse de ce qu'opère un « documentariste classique », l'auteur montre que le film se présente comme constituant sa référence, non son enregistrement. Désignant ce film par le terme de « monumentaire », l'auteur étudie les processus référentiels qui y sont engagés à la lumière de Les Individus de P.F. Strawson.
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Dissertations / Theses on the topic "Shoah – film"

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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.

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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.
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Bachmann, Michael. "Der abwesende Zeuge Autorisierungsstrategien in Darstellungen der Shoah." Tübingen Francke, 2010. http://d-nb.info/999713000/04.

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Besson, Rémy. "La mise en récit de Shoah." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0153.

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Cette thèse a pour objet la mise en récit de Shoah (Claude Lanzmann, 1985). Ce film ayant pour sujet la mise à mort des Juifs entre 1941 et 1945 est construit autour de propos tenus par des acteurs de l'histoire, en excluant toute voix-off et toute image en mouvement contemporaine des faits. En 2012 en France, il est considéré comme une référence incontournable, un chef-d'œuvre. Il est aussi un symbole de l'émergence de la parole des témoins dans l'espace public, du moment-mémoire et de la prise de conscience de la singularité du génocide des Juifs. Ce travail porte sur les différentes étapes de ce devenir référence. La première partie repose sur une étude de l'historiographie et des 67 entretiens menés par l'équipe du film. Ce corpus qui se trouve au Musée Mémorial de l'Holocauste à Washington permet de documenter la mise en place des dispositifs filmiques et la phase correspondant au montage. Ces archives conduisent à établir que Shoah est une forme culturelle construite à chaque étape de sa réalisation. La seconde partie aborde les propos tenus dans l'espace public entre 1985-2011. Elle a permis d'identifier des écarts avec la manière dont l'intrigue du film a été conçue (1973-1985). Ainsi, le récit de Shoah a été appréhendé comme un processus dynamique dont le film est un élément central à considérer parmi d'autres : les tournages des entretiens, le montage, la première diffusion, les appropriations successives dans les médias et dans les sciences sociales aussi bien que par d'autres réalisateurs, l'institutionnalisation (musées et Education nationale)
This dissertation's topic is the evolution of Shoah's narrative (Claude Lanzmann, 1985). Dealing with the killing murder of Eastern European Jews between 1941 and 1945, this film is built around statements made by actors of history, excluding any voiceover and any moving pictures of contemporary facts. In 2012 France, it is considered as an essential reference, a masterpiece. This is also a symbol of the emergence of witnesses in public space, the "moment-memoire" and the awareness of the Jewish genocide's uniqueness. This research deals with the various stages of this "devenir référence". The first part is based on a study of historiography and 67 interviews conducted by the film crew. Located in the United States Holocaust Memorial Museum, this corpus allows to document shootings and editing. This collection of archives led to establish that Shoah is a cultural form constructed at each step of the filmmaking. The second part examines the comments made in public space between 1985 and 2012. It identified differences with how the movie's plot was designed (1973-1985). Thus, the narrative of Shoah is investigated as a dynamic process in wich the film is a central element to consider among others : filming interviews, editing, first broadcast, successive appropriations in the media and also in social sciences writings and institutions (Museums, National education system, University)
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Corell, Catrin. "Der Holocaust als Herausforderung für den Film : Formen des filmischen Umgangs mit der Shoah seit 1945 : eine Wirkungstypologie /." Bielefeld : Transcript, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783899427196.

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Torner, Carles. "Regarder l'extrême : une pédagogie de la mémoire de la Shoah à partir du film de Claude Lanzmann." Paris 8, 2000. http://www.theses.fr/2000PA081759.

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Shoah, de claude lanzmann, met le spectateur face a nombreux temoignages. Par quelle construction historique et artistique cette memoire devient-t-elle actuelle ? quelle est la pedagogie pour la transmettre ? la recherche entrecroise trois temporalites : une etude de la memoire par une memoire multireferentialite et opacite derniere de l'objet de recherche, ethique et epistemologie, resonance et raisonnement s'enchevetrent. L'objet est place sous le regard a) du carrefour de memoires du chercheur, b) des debats theoriques de differentes disciplines et entre acteurs de la memoire collective, c) de shoah. L'itineraire de la memoire le concept de << memoire collective >> (m. Halbwachs) permet d'explorer les tensions a) entre unicite de la shoah et memoire exemplaire, b) entre narration historique et fiction veritable, c) entre l'intelligibilite de la transmission et l'imperatif de preserver l'opacite de la shoah. Sous le regard de shoah la narration d'un regard du film fait apparaitre la temporalite qui lui est propre, le role de l'oubli dans la construction de la memoire, le << pas de pourquoi >> de la shoah qui permet de regarder en face l'horreur, la mise en scene du temoignage par unartifice cinematographique qui met en lien la parole du temoin et l'innomable de ce dont il doit rendre compte. Ainsi surgit, dans l'image, le lieu de la mise a mort des juifs. Shoah cree une chaine de transmission paradoxale : des juifs mis a mort au temoin ; du temoin (souvent au moyen de l'interprete) a lanzmann ; du dialogue entre le temoin et lanzmann au spectateur ; du spectateur au-dela. Le film forme une communaute de temoins de la shoah. L'ethique de la transmission est une triple assignation de place (dans l'itineraire de la memoire), d'ecoute (subir la memoire) et de parole (narration, toujours inachevee, de la memoire de la shoah). Le dialogue entre memoire individuelle et memoire collective fait que tout recit de shoah soit dit a partir d'un carrefour memoriel contextualise.
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Cazenave, Jennifer. "Genèses des figurations de la femme dans la Shoah : voix féminines et représentations de l'Holocauste (1946-1985)." Paris 7, 2011. http://www.theses.fr/2011PA070023.

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Lors de la réalisation de Shoah (1985), Claude Lanzmann a accumulé 350 heures de rushes. Ces images inédites constituent le point de départ pour une réflexion sur la genèse du film, à savoir, le rapport entre le visible et l'invisible, le montage et l'archive. Face à l'ampleur de ce fonds, cette étude s'attache en particulier à la représentation des femmes. Tandis que les critiques féministes du film soulignent leur absence, nous soutenons que Shoah est traversé par des voix de femmes. Outre une analyse détaillée de ces représentations par la parole, il s'agit donc d'approfondir cette thématique du non-visuel à partir d'un travail des rushes des interviews avec des survivantes filmée? durant le tournage du film. De même, nous analysons la manière dont la représentation verbale des survivantes dans Shoah s'oppose à la présence visuelle des personnages féminins dans certaines représentations cinématographiques - soit des films, soit des témoignages filmés dans le cadre d'un procès - de « l'Holocauste » réalisés entre 1946 et 1985
This dissertation reconsiders the representation of women in Claude Lanzmann's Shoah. While Lanzmann's documentary established a new paradigm for the limits of representation - which, as I demonstrate, contrasts with the visual presence of women in Holocaust films before Shoah -feminist readings have persisted in decrying the limited visual presence of women in the film Shifting the value from the image to the voice, I make a case for the cinematic significance GJ absence by mapping the acoustic spectrum which renders women present despite their invisibility. I argue that Shoah is traversed by the voices of women — both spoken and remembered. Vocal representations of women thus trace a path toward the unrepresentable image that haunts the film in its entirety: death itself. In Shoah, women tread between the image and its absence: the testimonies of the four women survivors in the film, which culminate in an untranslated song in Yiddish; the appearance and disappearance of the interpreters (all women), whose voices weave through the film pointing to the displacement of one language to another and to what is irreparably lost in translation the men who remember women — and their words — inside the gas chambers. Probing this intimacy of image and absence, I have been led to study the film's outtakes ; the most outstanding feature of these interviews is the ever-unstated but always present choices that constitute the film as it stands, but are themselves both unseen and unvoiced; any critical reflection on the film must concern itself with its making — that is, the arbitration between visibility and invisibility, presence and absence, montage and archive
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Corell, Catrin. "Der Holocaust als Herausforderung für den Film Formen des filmischen Umgangs mit der Shoah seit 1945 ; eine Wirkungstypologie." Bielefeld Transcript, 2006. http://d-nb.info/984274146/04.

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De, Voghelaer Nathalie. "Cinéma, mémoire et imaginaire collectif : ou Comment les réalisateurs allemands représentent le génocide dans les films de fiction entre 1945 et 1960." Lille 3, 1999. http://www.theses.fr/1999LIL3A008.

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Fertoukh, Ariel. "Constances et évolutions de la représentation des victimes de la Shoah dans les cinémas américain, français et israélien." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010546.

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L’étude thématique de l’évolution de la représentation de la Shoah fait avant tout ressortir des constances dans ce corpus filmique. Les traditions propres au cinéma, la tendance des auteurs à esquiver les aspects inconcevables mais vrais de l’événement, et la subordination aux forces politiques et sociales expliquent ce phénomène. C’est ainsi que la représentation des chambres à gaz obéit à une constance d’ordre éthique. La révolte militaire des civils souffre d’une représentation servile. La mémoire de la Shoah, déterminée par les instances officielles des pays étudiés, correspond aux traditions de ces derniers et reflète leur nature profonde. L’instrumentalisation de la Shoah, différente d’un pays à l’autre, est une donnée essentielle de ce cinéma. La spécificité de la Shoah est ignorée : les enfants comme ultimes victimes, le caractère universel du judéocide. Le défaut de représentation des Conseils Juifs, la sous représentation des femmes par rapport aux hommes participent au défaut de représentation du cinéma. L’évolution relevée est le plus souvent le résultat de la conformité des œuvres aux changements politiques et sociaux du pays concerné. La Shoah a acquis, à travers le cinéma, le statut de mythe essentiel de la démocratie libérale, au nom de valeurs morales universelles, masquant ainsi le syndrome d’une société incapable de se référer à son propre passé et de se projeter dans l’avenir en l’absence de projet spirituel et moral
The thematic study about the evolution of the Holocaust representation emphasizes the works’ domination of the constancy. The Cinema’s proper traditions, the authors’ tendencies to evade the inconceivable but true aspects of the event, and the subordination to political and social strengths explain this phenomenon. Thus, the gas chambers’ representation obeils all ethical standards. The civilians’ military revolt suffers from an uninspiring representation. The Holocaust’s remembrance, determined by the official authorities of the studied countries, corresponds to the latter’s traditions and reflects their deep nature. The Holocaust’s instrumentalization, different from one country to another is an essential element of cinema. The Holocaust’s specificity is being ignored: children as the ultimate victims, the judeocide’s universal character, the Jewish Councils’ defect of representation, women’s under-representation as compared to men contribute to cinema’s fault of representation. The noticed evolution is most of the time the result of the works’ conformity with the political and social changes of the concerned country. Through cinema, Holocaust gained the status of an essential myth of the liberal democracy in the name of universal moral values, hiding thus the syndrome of a society unable to refer to its own past and to plan ahead in absence of spiritual and moral project
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Suguiyama, Natália Keiko de Carvalho. "O testemunho no cinema documental: procedimentos criativos no campo da experiência traumática com ênfase em Shoah de Claude Lanzmann e Histoire(s) du Cinéma de Godard." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21434.

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Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted
Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado
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Books on the topic "Shoah – film"

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Shoah. London: Palgrave Macmillan on behalf of the British Film Institute, 2011.

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Alterman, Aline. Visages de Shoah: Le film de Claude Lanzmann. Paris, France: Cerf, 2006.

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Lanzmann, Claude. Shoah. [Hollywood, CA]: Paramount Video, 1985.

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Lichtner, Giacomo. Film and the Shoah in France and Italy. London: Vallentine Mitchell, 2008.

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Shoah. [Paris]: Fayard, 1985.

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Shoah. Sarajevo: Medjunarodni teatarski i filmski festival MES Sarajevo, 1996.

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Shoah: The complete text of the acclaimed Holocaust film. New York: DaCapo Press, 1995.

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Visages de la Shoah: Le film de Claude Lanzmann. Paris: Cerf, 2006.

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Bernard, Cuau, ed. Au sujet de Shoah: Le film de Claude Lanzmann. [Paris]: Belin, 1990.

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Kramer, Sven. Auschwitz im Widerstreit: Zur Darstellung der Shoah in Film, Philosophie und Literatur. Wiesbaden: Deutscher Universitäts-Verlag, 1999.

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Book chapters on the topic "Shoah – film"

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Boswell, Matthew. "Shoah (Claude Lanzmann)." In Holocaust Impiety in Literature, Popular Music and Film, 147–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_9.

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Gilman, Sander L. "The First Comic Film About The Shoah." In Jewish Frontiers, 35–64. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973603_2.

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Lanzmann, Claude. "Shoah." In 100 Documentary Films, 199–201. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_82.

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Bayandor, Darioush. "The Abadan File." In The Shah, the Islamic Revolution and the United States, 195–206. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96119-4_9.

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Gilman, Sander L. "Is Life Beautiful? Can the Shoah Be Funny? On the Frontier between Acceptable and Unacceptable Representations of the Holocaust in Some Newer and Older Films." In Jewish Frontiers, 65–92. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973603_3.

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Chare, Nicholas. "Gesture in Shoah." In Gesture and Film, 46–58. Routledge, 2017. http://dx.doi.org/10.4324/9781315707327-5.

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Felman, Shoshana. "Shoah." In Metacinema, 233–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0012.

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This chapter explores the enduring potency of Claude Lanzmann’s film Shoah (1985) for illuminating the nature of event, memory, witnessing, and testimony (testimony to a private and collective trauma). It considers the implications of a film that some view as a documentary—but which this chapter considers, rather, as one of the greatest works of art of our times—a film that, in an unparalleled and paradoxical way, refuses systematically to use any historical, archival footage. The chapter argues that Lanzmann’s work of stark originality is a radically unprecedented cinematic, artistic and philosophical creation, about the witnessing of a shattering historical catastrophe, viewed from the present, that is, from the corporeal and emotional presences of the human beings who were once its protagonists (its executioners, its victims, its bystanders). As the chapter recalibrates our sense of witnessing, of seeing, and of what counts as bearing witness to an unthinkable event, it explores why Lanzmann should be understood himself as an innovative kind of cinematic witness—indeed, as a profoundly philosophical filmmaker, witness in the second degree of a cataclysmic history, whose living corporeality resists becoming simply past.
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Kramer, Sven. "Gesprächsstrategien und Subjektpositionen in Interviewfilmen über die Shoah." In Jüdischer Film, 171–84. edition text + kritik im Richard Boorberg Verlag, 2022. http://dx.doi.org/10.5771/9783967077223-171.

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Frenzel, Martin. "Zwischen erfundener und erlebter Erinnerung. Die Shoah im Comic." In Weltentwürfe im Comic/film, 160–92. Schüren Verlag, 2018. http://dx.doi.org/10.5771/9783741001260-160.

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"Zeugenschaft der Toten Über Claude Lanzmanns Film Shoah." In Überleben, 61–76. Wilhelm Fink Verlag, 2011. http://dx.doi.org/10.30965/9783846749975_005.

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Conference papers on the topic "Shoah – film"

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Shah, Mirza Mohammed. "Heat Transfer During Condensation Inside Small Channels: Applicability of General Correlation for Macrochannels." In 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-22346.

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Prediction of heat transfer during film condensation in mini and microchannels is of much practical interest. No well-verified method for this purpose is available. The applicability of the author’s well-validated general correlation (Shah 2009) for condensation in tubes to small channels is investigated in this paper. A wide range of data for condensation in horizontal micro and mini channels were compared with it. This correlation was found to predict 500 data points from 15 studies on small diameter channels with a mean deviation of 15.9 percent. These data included single round and rectangular channels as well as multiport channels with round and rectangular ports with equivalent diameters from 0.49 to 5.3 mm, 8 fluids, reduced pressures from 0.048 to 0.52, and mass flux from 50 to 1400 kg/m2s. This indicates its applicability to minichannels. However, a large amount of data for diameters from 0.114 to 2.6 mm showed large deviations from this correlation. The discrepancy in the overlapping range of data could be due to difficulties in accurate measurements on small channels.
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