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                "description": "<p>\n\tSince its completion in 1955, Alain Resnaiss Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the concentrationary universe which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnaiss benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition.</p>",
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                "description": "<p>\n\tDuring World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowskas The Last Stage (1948) and Aleksander Fords Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajdas A Generation (1955) and Andrzej Munks The Passenger (1963). Between 1965 and 1980 there was an organized silence regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kieslowskis Decalogue 8 (1988), Andrzej Wajdas Korczak (1990), Jan Jakub Kolskis Keep Away from the Window (2000), and Roman Polanskis The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Polands national memory.</p>",
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