1. For a critical view on the supposed impossibility of representing the Holocaust particularly in the cinema, see Lawrence Baron, Projecting the Holocaust into the Present: The Changing Focus of Contemporary Holocaust Cinema (Lanham: Rowman & Littlefield Publishers, 2005), esp. 1–22.
2. Anton Kaes, “Holocaust and the End of History: Postmodern Historiography in Cinema,” Probing the Limits of Representation: Nazism and the “Final Solution,” ed. Saul Friedlander (Cambridge and London: Harvard University Press, 1992), 207.
3. Jean-François Lyotard, The Differend: Phrases in Dispute, trans. Georges Van Den Abbeele (Minneapolis: University of Minnesota Press, 1988), §2, 4.
4. Film Quarterly;I Konigsberg,1998
5. see Barbie Zelizer, Remembering to Forget: Holocaust Memory through the Camera’s Eye (Chicago: The University of Chicago Press, 1998); and on the concentration camp newsreel footage and its reception,