Since its completion in 1955, Alain ResnaisOCOs Night and Fog
(Nuit et Brouillard) has been considered one of the most important
films to confront the catastrophe and atrocities of the Nazi era.
But was it a film about the Holocaust that failed to recognize the
racist genocide? Or was the film not about the Holocaust as we know
it today but a political and aesthetic response to what David
Rousset, the French political prisoner from Buchenwald, identified
on his return in 1945 as the OCyconcentrationary universeOCO which,
now actualized, might release its totalitarian plague any time and
anywhere? What kind of memory does the film create to warn us of
the continued presence of this concentrationary universe? This
international collection re-examines ResnaisOCOs benchmark film in
terms of both its political and historical context of
representation of the camps and of other instances of the
concentrationary in contemporary cinema. Through a range of
critical readings, Concentrationary Cinema explores the cinematic
aesthetics of political resistance not to the Holocaust as such but
to the political novelty of absolute power represented by the
concentrationary system and its assault on the human
• Max Silverman
||Electronic book text - Windows
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