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Untitled
AM
by
amelia mcintosh
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Updated Jun 15, 2022
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Chapters
00:00
English multi-model
00:03
Chapter 2
00:09
There has to be a substantial amount of truth when dealing with historical events in texts,
00:26
Chapter 4
00:31
Spielberg shares the stories of the Jewish People through following the protagonist’s story, covering the truth of the real Schindler to create a story that can resonate with the responder.
01:01
Chapter 6
01:09
Alain shares stories of the Jewish people through the documentary, Alain Resnais contrasts the peaceful and lush landscape of modern Auschwitz with the horrors of the past (revealed in newsreel footage and still images).
01:34
Chapter 8
02:52
For the record, the real Oskar Schindler was not a saint, and the 1,200 Jews he saved weren't weak.
03:16
Chapter 10
03:20
The documentary night and fog is juxtaposed in the story which is written by a survivor with the image captured/created.
04:11
Chapter 12
04:16
In Holocaust media, truth is the most important factor,
Audio Transcript
Auto-generated
00:07 - 00:07
okay.
00:15 - 00:17
The elements of the truth may be overlooked in order
00:17 - 00:20
to create a story that resonates with a responder.
00:20 - 00:25
She was last night, and Fog shared stories of victims of the Holocaust.
00:39 - 00:42
Schindler's List shows this through Spielberg,
00:42 - 00:45
manifesting the side of similar in the Holocaust and
00:45 - 00:47
combining how much it was affected by it,
00:47 - 00:49
making us think of portion
00:50 - 00:53
and asked feeling sorry for him when he broke down in tears at the end,
00:54 - 00:56
stating that he could have saved one more.
00:57 - 01:00
This indicates that our emotions are being taken away from the
01:00 - 01:01
suspect.
01:17 - 01:18
Nine Fog shows this.
01:18 - 01:24
They're strong visual styles and portray the Holocaust with harsh realism.
01:24 - 01:27
Parts of these composers use their emotional attack
01:27 - 01:29
to convey the text with the responder,
01:30 - 01:34
but there's some at what cost of how much truth is being told.
01:45 - 01:45
Mhm
01:45 - 01:45
what?
01:48 - 01:49
Mhm.
01:55 - 01:56
Yeah,
01:57 - 01:57
Mhm,
01:58 - 01:59
Yes.
02:06 - 02:06
Mhm,
02:24 - 02:24
Yeah,
02:40 - 02:41
yeah,
02:46 - 02:47
mm.
02:51 - 02:51
Mhm.
02:56 - 03:01
In fact, in an exceeding reversal of roles during the final days of the war,
03:01 - 03:03
a group of Schindler's Juden,
03:03 - 03:06
which Schindler's Jews was how they were called themselves,
03:07 - 03:09
took objective to avoid wasting sinless life.
03:10 - 03:12
This shows to be a huge deal,
03:12 - 03:16
and a big part of the story that was never shown or mentioned in the film.
03:24 - 03:24
Yeah,
03:26 - 03:27
but even this remarkable
03:30 - 03:34
but even this remarkable meditation on Auschwitz, whose
03:35 - 03:39
subject matter and editing style has a global impact,
03:40 - 03:42
focused on its poetic freedom
03:43 - 03:46
and the identity of the majority of the camp victims,
03:46 - 03:48
especially the Jewish identity.
03:48 - 03:52
We see a light trucks ploughed through a pile of hungry corpse.
03:53 - 03:54
The horror of this country
03:54 - 03:55
catastrophe
03:56 - 03:59
is laid back to our eyes before us
04:00 - 04:01
attempting to experiment.
04:01 - 04:06
What the Holocaust, using imaginative visual techniques will only leave
04:07 - 04:10
the subject at the forefront of the viewer's mind.
04:15 - 04:15
Mhm.
04:20 - 04:20
Okay,
04:21 - 04:25
Schindler's List sacrifices this in order to connect with the viewers
04:26 - 04:28
in contrast to night and fog,
04:28 - 04:32
which keeps it focused on reality and the truth,
04:32 - 04:37
which portrays a realistic and effective view of the Holocaust.
04:40 - 04:40
But
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