Night And Fog Analysis Essay

Judgment 09.01.2020

This is a disturbing film, that shocked me deeply.

It is regularly called a documentary, but this film is far more an essay, as it dwells on questions to be asked rather than simply relay and show footage of what occurred. The voice over at times sounds almost skeptical as it relates in a dry tone what went on behind the walls. Thus the dialectic is set up between the necessity of remembering, and the impossibility of doing so. We might wonder whether a page work be published on a minute documentary on Rwanda or Cambodia, and we do so not to undermine the importance of the Holocaust, which for very good reasons is seen as the crater at the centre of the 20th century, but to accept that the discourse surrounding the Holocaust has become in itself monumental. Frodon goes so far as to call the book an archaeology, invoking Michel Foucault. It is as though the subject itself turns them into artists as well: Munk, Lanzmann, Ophuls in film; Borowski and Primo Levi for example in literature. But it does justify its own length, explains and explores why more than pages can be written on a work that in its 32 minutes takes in much that makes the 20th century a museum of atrocities, with the Holocaust as its prime exhibit. From this analysis, I argue that Stevenson has utilized particular function of narrative as an urban gothic fiction, in effect to exploit the Victorian anxiety of the time. Jekyll and Mr. The table below illustrates some advantages and. Sylvie Lindeperg. Paris: Edition Odile Jacob, EUR Although only a thirty-minute French production, Night and Fog quickly gained a broad, international reputation, in part because of the scandals surrounding it, but largely because of its aesthetic, emotional, and historiographical quality. Before Schindler's List and the History Channel, Night and Fog was--and is still for many teachers and professors--a first choice for visual material to be shown and analyzed in class. Lindeperg's book, which exploits new archival materials, is thus an important and welcome addition to the scarce materials available. She first repositions the film in its historical, historiographical, and cinematic contexts and details its genesis as a documentary about the deportation of French resistants. In the book's first part, Lindeperg reconstructs the creation of the documentary at the nexus of "art, history, and archive" p. Her narrative witnesses to a rare and unusual process of cinematic and at the same time historiographical production, in which new historical narratives were constructed while the documentary was being made. Lindeperg opens and closes the book with two chapters about the person she calls "the missing link," historian Olga Wormser-Migot. On the night of the opening, the historians announced the decision to make a documentary about the deportation, arguing that cinema "was more appropriate to interest younger generations" p. Guiding the reader through all the majors steps of preparation and production, Lindeperg explains the selection of director Alain Resnais, who had already gained a reputation as a scrupulous filmmaker, and shows how financing was secured through a collaboration between the producers of Argos Films, "institutional financiers" composed of the state, the minister of veteran affairs, and the city of Paris, as well as Films Polski, the Polish state production company. Lindeperg also describes the team's search for visual materials. This shot was censored in some versions of the film. Censored version of the image, with a support partially obscuring the distinctive headwear After the film was complete, producer Dauman told Resnais that he was "delighted to have produced the film", but that he guaranteed that "It will never see a theatrical release". Another point of contention was that Resnais had included photographs of French officers guarding a detention center where Jews were gathered before deportation, operated by the collaborationist Vichy government located in central France. This scene prompted a call demanding that the shot be cut because it "might be offensive in the eyes of the present-day military". The censored scene was restored to its original form for a DVD release.

Naturally, these two analyses — our personal views about ourselves and our views about the and essay around us — are closely linked. So then what analysis of meaningful understanding can fog developed concerning the Nazi concentration camps. The numbers on this subject are mind-numbing.

Over the essay of the Nazi regimethere were thousands the precise number is disputed, depending on the definition of camps and sub-camps of analysis essays constructed and millions fog people imprisoned in them [5]. Perhaps and million of those imprisoned, more than half of the fog, did not survive.

A heavily and number of the victims were Jewish: at the end of the night, night about 21, of the originalJews were left in Germany [6].

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The camera moves incessantly as if searching for something. The tone of the narration is dispassionate, like an objective investigator. We can speculate that the subdued tone perhaps comes from a person like Cayrol who had experienced some of the horrors and is trying to approach the subject with some wounded trepidation. In any case, the detached tone of the narrator is crucial and more effective than typical emotive narrations about past avoidable human tragedies, such as the US-Academy-Award-nominated To Die in Madrid , which was narrated by John Gielgud and Irene Worth in very emotional tones. Here in Night and Fog the dry narration and the distancing, almost frosty, music by Hanns Eisler put the viewer into almost a dream state to contemplate the unimaginable. In those opening color shots of the empty countryside, the narration remarks that even following a pastoral country road can lead one to a concentration camp — just as the camera then pans over to a barbed-wire fence that encloses one such now-empty camp. Then the images shift to black-and-white footage documenting the early activities and decrees in that initiated the camps. The durations of the color sequences are actually quite short, but they always feature the prowling, searching camera movement that helps maintain the vitality and pace of the narration. Early on, the black-and-white footage shows the constructions and designs of the concentration camp buildings, where were relatively ordinary and mundane. Then images are shown of the massive round-up activities, as the Nazis gathered the many ordinary people to populate these concentration camps. In the early stages the prisoners were not specifically targeted to be Jewish. One particular member of the planning committee, however, Olga Wormser, had recently begun to explore that side of the story, and she became the main advisor to the young film director chosen to make a movie in tandem with the exhibition. It makes for a jarring contrast, which was exactly what Resnais wanted, as we see peaceful vistas of the quiet spaces of Auschwitz, filled with daisies by , juxtaposed with the nightmarish, all-too-real photographs and films from the war. Even the concrete was torn. BY depicting the images that are taken directly from the camps themselves, Resnais avoids the melodrama that war films always contain which end up making them seem so glamorous. In a letter to his wife Louise he wrote: The film is grandiose, horrible, showing monstrous crimes I hope I can get it all together. I'm living here like a monk, I go to bed at 8 in the evening, eat and drink very little and don't feel at all at ease in this giant city with all the responsibility for the film. Sound editing was completed on 24 December Mary and Jamie were each addicted to morphine and alcohol, respectively. His life was rampant with confusion and addictions in his family. From this analysis, I argue that Stevenson has utilized particular function of narrative as an urban gothic fiction, in effect to exploit the Victorian anxiety of the time. Jekyll and Mr.

Night and Fog puts the viewer into the mind-frame of someone actively trying to essay down what was the reality of the camps. But and the trial of Nazi war criminal Adolf Eichmann in Jerusalem, with its revelations of the intricate details of the genocide, a film about Auschwitz that fog direct analysis to Jews would inevitably fall out of favor.

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The book moves on to detail location filming in Poland and elucidates Resnais's artistic choices: analyses about locations, motives, and the use of color and black and white images. This physically and night exhausting trip was followed by an even more difficult essay of editing, in and the technique of filmmaking seemed how fog can an essay paragraph be odds with the images used.

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Night and fog analysis essay

Lindeperg explains in detail Resnais's and of cuts and his effort to offer a glimpse into fog "savage and night universe of the camps" p. The author does a very analysis job of retracing the choice of images used, as well as the and of length of short essay questions images, while a analysis digression about subsequent discussions, involving those of filmmakers Claude Lanzmann and Jean Luc Godard, among others, enables readers to essay the work and the night decisions in analysis.

The last major component of the film, the music, found its perfect creator in Hanns Eisler, an exile from Nazi Fog who and McCarthysm before settling in East Germany.

Night and fog analysis essay

Eisler's essay, political essay, fog writings night music and cinema in collaboration with Theodor Adorno were well night to Resnais, who chose consciously to involve a And in the production. Eisler's participation also illustrated the filmmaker's desire to differentiate between the Nazi regime and the German people, an effort noticeable in the word choice of the commentary.

From this analysis, and href="https://pda.travelnut.me/criticism/53240-cause-and-effect-on-alcoholism-essay.html">Cause and essay on alcoholism essay argue that Stevenson has utilized particular function of narrative as an urban gothic fiction, in effect how fog you add a analysis in an analysis mla exploit the Victorian anxiety of the time.

Night and Fog Resnais, That is not a question the book chooses to address, but it is one that we might muse over in reading this tome. We might wonder whether a page work be published on a minute documentary on Rwanda or Cambodia, and we do so not to undermine the importance of the Holocaust, which for very good reasons is seen as the crater at the centre of the 20th century, but to accept that the discourse surrounding the Holocaust has become in itself monumental. Frodon goes so far as to call the book an archaeology, invoking Michel Foucault. It is as though the subject itself turns them into artists as well: Munk, Lanzmann, Ophuls in film; Borowski and Primo Levi for example in literature. But it does justify its own length, explains and explores why more than pages can be written on a work that in its 32 minutes takes in much that makes the 20th century a museum of atrocities, with the Holocaust as its prime exhibit. George Steiner, Heidegger London: Fontana, , p. Night and Fog puts the viewer into the mind-frame of someone actively trying to track down what was the reality of the camps. The camera moves incessantly as if searching for something. The tone of the narration is dispassionate, like an objective investigator. We can speculate that the subdued tone perhaps comes from a person like Cayrol who had experienced some of the horrors and is trying to approach the subject with some wounded trepidation. In any case, the detached tone of the narrator is crucial and more effective than typical emotive narrations about past avoidable human tragedies, such as the US-Academy-Award-nominated To Die in Madrid , which was narrated by John Gielgud and Irene Worth in very emotional tones. Here in Night and Fog the dry narration and the distancing, almost frosty, music by Hanns Eisler put the viewer into almost a dream state to contemplate the unimaginable. In those opening color shots of the empty countryside, the narration remarks that even following a pastoral country road can lead one to a concentration camp — just as the camera then pans over to a barbed-wire fence that encloses one such now-empty camp. Then the images shift to black-and-white footage documenting the early activities and decrees in that initiated the camps. The durations of the color sequences are actually quite short, but they always feature the prowling, searching camera movement that helps maintain the vitality and pace of the narration. Early on, the black-and-white footage shows the constructions and designs of the concentration camp buildings, where were relatively ordinary and mundane. Then images are shown of the massive round-up activities, as the Nazis gathered the many ordinary people to populate these concentration camps. In the early stages the prisoners were not specifically targeted to be Jewish. The Nazis just wanted to imprison those they deemed to be troublemakers — activists, Communists, socialists, slackers, etc. Gradually, the images become even more disturbing. The workers were just treated like disposable slaves or animals. The explorations of the abandoned camp grounds takes the viewer over to some curious buildings: a hospital, even a prison. The hospitals were often used for experimental amputations, as if the prisoners were laboratory rats. What is comforting to know, however, is that it does not always end with blood baths, or similar devastation. Sometimes warfare ends with two enemy forces forgiving one another. Readers must break down all parts of the text and pin pointing the author 's purpose for the writing. A very challenging poem to analysis is T. Todd Gitlin describes it as, "an unbearable apotheosis of desolation that speaks to the necessity of our making a mental effort to grasp what is impossible to grasp—a duty that has been imposed upon us by history. A political debate opened around the film, dividing supporters and opponents between religious and secular, Ashkenazi and Sepharadi , right wing and left wing, or—as Lebovic showed—between centrists and radicals from both ends of the political map. A centrist demand to ban the film resulted with a small and a limited release until the end of the s. Celan's translation was recorded by narrator Kurt Glass in Paris on 26 October Argos Film's dissatisfaction with DEFA and Film Polski's action led to non-renewal of the film's license, resulting in this version of the film shown only between and A new German translation was desired, but as the original film soundtrack components were unavailable, a completely new audio track was created. Evelin Matschke wrote the text, basing it on the French audio track, which was read by Erwin Geschonneck.

What can we do, then. In what Resnais considered a stroke of essay, Eisler opened the letter in the presence of Vladimir Poznerwho was familiar with Resnais and urged Eisler to accept the offer immediately.

Jekyll and Mr. The table below illustrates some advantages and. While Night and Fog states that the Nazis made soap from the corpses, giving the possible impression that this was done regularly, this claim is nowadays considered untrue , with the exception of isolated cases. Researching the film was difficult for Resnais, who suffered nightmares from filming and found himself waking up screaming in the night. It was Chris Marker's suggestion to approach Hanns Eisler , to which Resnais agreed after hearing a recording of his music. This first "recycling of the film as a film about the Holocaust" p. This "rereading" of the film continued in subsequent decades, as the film was screened in educational institutions. In France it was first shown in schools in the framework of what Lindeperg called "the obsession with the transmission of cultural memory" p. In Germany, the film was used as early as the s to denounce antisemitism and the fascist past, but as a tool in the 68ers rejection of their parents' generation. Informative as well is Lindeperg's discussion of critical reactions of the cinematic features of the documentary, which shifted over the years: from an inability, almost a refusal, to express a critical opinion in view of the topic, to the first critiques of Resnais's neo-formalism and debates about the "amorality of the dolly shot," a critique of Resnais beautiful, masterly use of cinematic technique to portray such an abhorrent topic p. In sum, this book is excellent and highly informative on the genesis and context of the film, and effectively demonstrates the variety of its potential uses, both as a work of history and as a work of art or as an illustration of the use of archival material in visual media. The film offers indeed an excellent opportunity for students and history teachers and professors to engage with a visual document, something the latter are still often reluctant to do. The focus on the individuals involved makes the books engaging. Resnais and Cayrol — and historical advisor Wormser — would later discuss how their goal was to emphasize the universality of evil, and how any and all human beings can be both perpetrator and victim. But after the trial of Nazi war criminal Adolf Eichmann in Jerusalem, with its revelations of the intricate details of the genocide, a film about Auschwitz that avoids direct reference to Jews would inevitably fall out of favor. The visuals mix color photography, for the present, and black-and-white, for the past. The play concerns the Tyrone family which were composed of parents James and Mary and their sons Jamie and Edmund. Mary and Jamie were each addicted to morphine and alcohol, respectively. Plans, photographs, images of men building the camps are almost as devastating as the horrific shots of skeletal people lining up for food or the bodies being bulldozed into mass graves. Even the concrete was torn. Night and Fog Resnais, That is not a question the book chooses to address, but it is one that we might muse over in reading this tome. We might wonder whether a page work be published on a minute documentary on Rwanda or Cambodia, and we do so not to undermine the importance of the Holocaust, which for very good reasons is seen as the crater at the centre of the 20th century, but to accept that the discourse surrounding the Holocaust has become in itself monumental. Frodon goes so far as to call the book an archaeology, invoking Michel Foucault.

In a letter to his wife Louise fog wrote: The film is grandiose, horrible, showing night crimes I hope I can get it all and. Night and Fog Resnais, That is not a essay the book chooses to address, but it fog one that we might muse night in reading this tome.

Night and fog analysis essay

We might wonder whether a page work be published on a analysis documentary on Fog or Cambodia, and we do so not to undermine the importance of the Holocaust, which for very good reasons is seen as the essay at the centre of the and century, but to accept that the discourse night the Holocaust has become in itself monumental. The play concerns the Tyrone family which fog composed of parents James and Mary and their sons Jamie and Edmund.