After the Fact studies the terrain of Holocaust documentaries subsequent to the turn of the twenty-first century. Until now most studies have centered primarily on canonical films such as Shoah and Night and Fog, but over the course of the last ten years filmmaking practices have altered dramatically. Changing techniques, diminishing communities of survivors, and the public's response to familiar, even iconic imagery, have all challenged filmmakers to radically revise and newly envision how they depict the Holocaust. Innovative styles have emerged, including groundbreaking techniques of incorporating archival footage, survivor testimony, and reenactment. Carrying wider implications for the fields of Film Studies, Jewish Studies, and Visual Studies, this book closely analyzes ten contemporary and internationally produced films, most of which have hardly been touched upon in the critical literature or elsewhere.
Brad Prager is Associate Professor of German and a member of the Program in Film Studies at the University of Missouri. He is the author of The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth (2007) and Aesthetic Vision and German Romanticism: Writing Images (2007). He is also the coeditor of a volume on Visual Studies and the Holocaust entitled Visualizing the Holocaust: Documents, Aesthetics, Memory (2008), as well as of a recent volume on contemporary German cinema, and is the editor of a Companion to Werner Herzog (2012).
Acknowledgments Introduction: The Holocaust Documentary: In Stages Touring Sites: Revisiting the Concentration Camps in KZ and Martin Mediated Memories: The Influence of Spielberg's Hollywood Hit on Inheritance and Spielberg's List Forgiveness on Film: Resentment and Reconciliation in Forgiving Dr. Mengele and Landscapes of Memory: The Life of Ruth Kluger Family Issues: Oedipal Confrontations in 2 or 3 Things I Know about Him and The Flat Re-Screening Perpetrator Images: Witnessing the Past in A Film Unfinished and Photographer Conclusion Selected Filmography Works Cited Index