Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate. ——Written by Sundance Film Festiva
The Nazis used film to document Jewish people's life in Warsaw. While the camera did not avoid gruesome views of dead bodies and the Jew's hellish living situations, the film Das Ghetto tries to rewrite history through staging and fabrications. Das Ghetto tries to present the Jews from the inside out and every aspect of their daily life. There are literally scenes where people are forced to be naked and scenes where we see skin and bones, bodies that are no longer in a human form, and life meaning reduced to its minimum. On a societal level, the Nazis not only shoot in the public sphere but also captured scenes in the prison and inside elite Jewish people's homes. Beneath this omniscient or "objective" view lies the distortion of the truth.
It takes efforts (and also luck) to uncover the truth, but the camera itself does not lie. There are many moments in the film that carry a sense of ambivalence and those are the moments that lead the audience to become emotional. As an unfinished film, Das Ghetto proves how language can be deceptive. Through watching A Film Unfinished, we cry for the lost lives and atrocity. But has the film been finished by Nazi propaganda, people (we) may come to different conclusions. sad.
The Nazis used film to document Jewish people's life in Warsaw. While the camera did not avoid gruesome views of dead bodies and the Jew's hellish living situations, the film Das Ghetto tries to rewrite history through staging and fabrications. Das Ghetto tries to present the Jews from the inside out and every aspect of their daily life. There are literally scenes where people are forced to be naked and scenes where we see skin and bones, bodies that are no longer in a human form, and life meaning reduced to its minimum. On a societal level, the Nazis not only shoot in the public sphere but also captured scenes in the prison and inside elite Jewish people's homes. Beneath this omniscient or "objective" view lies the distortion of the truth.
It takes efforts (and also luck) to uncover the truth, but the camera itself does not lie. There are many moments in the film that carry a sense of ambivalence and those are the moments that lead the audience to become emotional. As an unfinished film, Das Ghetto proves how language can be deceptive. Through watching A Film Unfinished, we cry for the lost lives and atrocity. But has the film been finished by Nazi propaganda, people (we) may come to different conclusions. sad.
看完以后觉得自己也是问题中的一部分了。
在这个摄影组拍摄电影镜头之前，还有至少两名德国人进入ghetto拍摄照片，分别是1941年9月的一次和1942年3月？1941年9月的那次也拍摄了集体坟墓埋葬的镜头，但显然可以看出来饿死的尸体比例不多，而且集体坟墓的位置是在犹太公墓的边缘挖下万人冢埋葬尸体，而这个纪录片里，最后埋葬尸体的万人冢的位置，显然是在战前的skr体育场（紧挨着犹太公墓南边），okopowa43号埋葬的，说明已经没有足够的地方埋葬死人了。
录像里面记录了好几个重要的隔离区内的地点，再对比波兰一个网站制作的1939年版本的航拍地图（几乎每个普通建筑都在这个航拍地图上有标记，点开可以看到类似谷歌地球那种——当年的建筑的真实照片，感叹80年前欧洲的影像资料留存下来的是真的多），我几乎能够把这份录像里的大部分拍摄地点都在地图上找出来。
包括影片最后，从okpowa50号将两具尸体抬到双轮车上，左转直接穿过被围墙隔离的okpowa街（okpowa街属于隔离区外部），进入那个停尸房（尸体为什么离停尸房这么近？我怀疑是尸体故意弄到这个地方，再进行摆拍并装上双轮车，拍摄人员为了节省走路的距离这样做的），停尸房旁边的大门直接可以进入skr体育场，万人冢就在那里等着他们，这个足球场战前是犹太人踢球的地方，有很多当年踢球的照片为证，足球场背后的建筑正是尸体的位置——okpowa50……研究透了之后会感觉到，毛骨悚然，太恐怖了……