Titlebook: Memories of Resistance and the Holocaust on Film; Mercedes Camino Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 history.H

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走路左晃右晃

危机

liaison

音乐戏剧

Grievance

,The Partisan (1943–74), configuring an idiosyncratic cinematic genre, Partizanski Films, about their real and imaginary deeds. Films dealing with resistance in the USSR provided a platform from which notions of heroism were challenged, offering outlets for unfinished mourning, as in Andrei Tarkovsky’s . (1962). Larisa Shepitko’s . (1977) and Elem Klimov’s . (1985).

colostrum

,The Collaborator (1969–74),s . (1974) and Joseph Losey’s . (., 1976). These films make use of Hannah Arendt’s ‘banality of evil’ and Brechtian distance to cast these liminal historical actors in order to challenge moral binaries and the mythology of heroic, national resistance.

Sad570

,Holocaust Testimony: Survivors, Ghosts and Revenants (1947–2002),f Holocaust films were produced in the Eastern Bloc, and include Wanda Jakubowska’s . (1947), and Ján Kadár and Elmer Klos’ . (1965). The trend had faded away by the time that the paradigmatic survivor film, Roman Polanski’s . (2002), was released.

Abrupt

,The Jewish Resister (1987–2015), their historical vindication. This transformation was consolidated by the time that Jon Avnet directed a television production about the last months of the Warsaw Ghetto, . (2001), and culminates in Edward Zwick’s adaptation of the struggle of the Bielski’s partisans in Soviet Belarus, . (2008).

Melanoma