My intention is not to discuss the limits in agency of both the films and producers nor do I wish to discuss the technical aspects which war played on the documentation of such cinema or simply compare and contrast the various films in their stylistic techniques. However, such subjects can never be disregarded, especially when they co-relate to the broader picture. My working hypothesis, rather, will discuss the inner workings of both films and their primary ambitions of memorialization via alienation in order to assert itself as “a document to serve our collective memory” (Memory of the Camps). I would like to also investigate the reasoning behind the original films pre-mature conclusion. Was it truly due to the need for the Allies to restore relations with the Germans or was the timing of such a film simply not compatible due to the beginning of the Cold War between the US and the Soviets?
Based on the amount of research I have conducted thus far, I believe my main sources that will help in my exploration of such a subject would be the various Holocaust documentary films released in the similar era, most prominently Andre Singer’s Night Will Fall along with Billy Wilder’s Death Mills and Alain Resnais’s Night and Fog. Professor Aaron Kerner’s Film and the Holocaust: New Perspectives on Dramas, Documentaries, and Experimental Films provides an insightful new perspective into the representation of the Holocaust via documentary films as well as questions the realistic aspects of such films. The sources listed above are vital in my working argument since they all provide various opinions of the reality of this horrific event through different mediums.
-The above two paragraphs are the beginnings of my introductory/scholarly dialogue, I haven’t been able to shape it up too much but any feedback on transitions and phrasing would be really helpful! Thanks.