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Instructor Class Description

Time Schedule:

Richard Block
C LIT 397
Seattle Campus

Special Topics in Cinema Studies

Varying topics relating to film in social contexts. Offered by resident or visiting faculty.

Class description

Popular Film and the Holocaust German 195, SISJE 195, Clit 397B Richard Block MWF: 12:30-1:20. Film screenings, Mondays at 2:30 until end of film. (Many films can be viewed by students on their own).

The horror of the Holocaust challenges the very limits of the imagination; the desperation of what the victims experienced is outside the realm of human speech. Moreover, any attempt to record what one experienced or witnessed threatens the constitution of the self. To represent this trauma one must present it otherwise. Were there even a language to represent what occurred, it would subject the witness to the horror of that trauma once again. The Nazis anticipated this dilemma, repeatedly taunting victims by dismissing the possibility that history would bear witness to what occurred in the camps. Their crimes, the Nazis proclaimed, were too horrible to be believed; the victims and their stories would be deposited, as Hannah Arendt noted, in “ever widening holes of oblivion.? Thus arises the absolute necessity, the moral imperative to represent what by definition cannot be represented.

In this course we will examine the strategies various filmmakers have developed to respond to this imperative. We will begin by asking ourselves how one bears witness to the unspeakable, how one captures a history that is too horrible to return to? But we will also turn a critical eye to how Hollywood in particular has exploited the dimensions of this trauma to pump up the volume, so to speak, on formulaic plots and how the conventions of popular film may respond to this imperative in ways that demean and cheapen the suffering of the victims. Likewise, we will question to what extent even documentary films can be understood to be objective, especially since the memories of the survivors and those of the perpetrators are unreliable.

Films to be screened include: Shoah, Night and Fog, Schindler's List, The Pianist, Life is Beautiful, The Reader, The Garden of the Finzi Contini. There will be critical essays to be read in conjunction with each film.

Popular Film and the Holocaust German 195, SISJE 195, Clit 397B Richard Block MWF: 12:30-1:20. Film screenings, Mondays at 2:30 until end of film. (Many films can be viewed by students on their own).

The horror of the Holocaust challenges the very limits of the imagination; the desperation of what the victims experienced is outside the realm of human speech. Moreover, any attempt to record what one experienced or witnessed threatens the constitution of the self. To represent this trauma one must present it otherwise. Were there even a language to represent what occurred, it would subject the witness to the horror of that trauma once again. The Nazis anticipated this dilemma, repeatedly taunting victims by dismissing the possibility that history would bear witness to what occurred in the camps. Their crimes, the Nazis proclaimed, were too horrible to be believed; the victims and their stories would be deposited, as Hannah Arendt noted, in “ever widening holes of oblivion.? Thus arises the absolute necessity, the moral imperative to represent what by definition cannot be represented.

In this course we will examine the strategies various filmmakers have developed to respond to this imperative. We will begin by asking ourselves how one bears witness to the unspeakable, how one captures a history that is too horrible to return to? But we will also turn a critical eye to how Hollywood in particular has exploited the dimensions of this trauma to pump up the volume, so to speak, on formulaic plots and how the conventions of popular film may respond to this imperative in ways that demean and cheapen the suffering of the victims. Likewise, we will question to what extent even documentary films can be understood to be objective, especially since the memories of the survivors and those of the perpetrators are unreliable.

Films to be screened include: Shoah, Night and Fog, Schindler's List, The Pianist, Life is Beautiful, The Reader, The Garden of the Finzi Contini. There will be critical essays to be read in conjunction with each film.

Student learning goals

General method of instruction

Recommended preparation

Class assignments and grading

Requirements: three two- to three- page papers analyzing the strategies for representation of selected films; a final creative project of 5-7 pages in which you outline and defend a strategy for representing the Holocaust based on our viewings and analyses of films.


The information above is intended to be helpful in choosing courses. Because the instructor may further develop his/her plans for this course, its characteristics are subject to change without notice. In most cases, the official course syllabus will be distributed on the first day of class.
Last Update by Richard Block
Date: 05/17/2010