The study of Holocaust representation in cinema is located at the intersection of film studies and Holocaust studies. The scope of issues dealt with in the field is defined by two sets of tensions: first, tensions between history and narrative, and second between Eastern and Western understanding of the Holocaust. The tension between history and narrative emerges in response to the famous dictum by Adorno that there is no poetry after Auschwitz. The filmmakers—and the scholars studying their films—must engage with the thorny questions about the representability of atrocities on screens. Consequently, a body of scholarship, grounded in the theories of visual culture and psychanalytical theory focuses on the challenges of portraying tragic history authentically and in ways that honors the victims. The question is to what extent can historical facts be fictionalized, and which genres of fiction and documentary are appropriate. Specifically debated is the representation of the Holocaust in comedy, fantasy, and other popular genres. Scholarship also deals with questions of memory—how do the cinematic representations reflect and shape our understanding of history and transmission of memory. The second set of tensions emerges as a result of complex history both during World War II and the Cold War, which divided the world into the “West”—including the United States, Western Europe, and Israel, vis-a-vis the “East,” that is, the Soviet bloc. Under Soviet rule, the story of the Holocaust was largely subsumed into that of the “Great Patriotic War,” silencing the fact that its victims were Jews. Consequently, representation of the Holocaust in Soviet and other East European national cinemas was censored. Alternatively, the Western narrative of the Holocaust was mainly concerned with stories of Nazi concentration and death camps, obfuscating the history of the Holocaust in the Soviet territories. Only recently has the Western historical narrative of the Holocaust started turning to the East and film scholarship expanded its focus to include Soviet and Soviet-bloc national cinemas. This scholarship also asks questions of representation, but mainly in the context of censorship and suppression, as well as of comparative analysis of the visual culture of the Holocaust in national cinemas. Such scholarship uncovers hitherto unknown films and also analyzes the Eastern and Western narratives of the Holocaust in the post–Cold War era. Finally, some scholarship on Holocaust films is also concerned with periodization, that is, discussing films in the context of the historical period in which they were produced and circulated, whether in a particular national context or comparatively. This bibliography makes note of periods, from early Holocaust cinema to current films.
