Ferzina Banaji
When confronted with a historical event of the tragic magnitude of the Holocaust, cinema with its inherently representational nature has often been found lacking. The proliferation of Holocaust films, especially in France, testifies that filmmakers appear stubbornly immune to representational moratoria making film’s relationship with the Holocaust a profoundly engaged and complex one. This book explores the relationship between film and the Holocaust in France: how has film changed the way that this traumatic event has been inscribed in French cultural memory? And what can these representations tell us about how we think of and understand the traumas of history?
