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Holocausto no cinema: representação ou exploração. Análise desde o pós-guerra até à atualidade
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A presente dissertação é o resultado de uma análise que pretende entender o modo como o cinema tem vindo a abordar a temática do Holocausto desde o pós guerra até à atualidade. Tomando como objetos de estudo onze filmes de épocas diferentes, o presente estudo tenta perceber quais dos filmes honram a memória do genocídio judaico e quais se servem deste apenas como um instrumento, por parte da indústria cinematográfica, para obter lucro. A análise das obras assentará, principalmente, na questão do confronto entre a memória do evento e a imaginação do realizador. No que respeita ao cinema pós guerra são analisados três filmes - The Stranger (Orson Welles, 1946), The Last Stage (Wanda Jakubowska, 1947) e The Search (Fred Zinnemann, 1948). Em relação às comédias serão também analisados três filmes – Jakob the Liar (Peter Kassovitz, 1999), Train of Life (Radu Mihaileanu, 1998) e Life is Beautiful (Roberto Benigni, 1997). The Devil’s Arithmetic (Donna Deitch, 1999) será analisado num contexto de cinema para “toda a família”. Finalmente serão analisados os filmes O filho de Saul (Lázló Nemes, 2015), Jojo Rabbit (Taika Waititi, 2019), Inglourious Basterds (Quentin Tarantino, 2003) e The Boy in the Striped Pajamas (Mark Herman, 2008), filmes que surgem já no século XXI. Numa primeira fase da presente dissertação serão analisados vários conceitos de grande importância para a análise dos filmes expostos, sendo estes, os conceitos de memória e pós-memória e os conceitos de totalitarismo, “banalidade do mal” e campos de concentração, sendo que a análise destes três últimos incide fortemente no pensamento de Hannah Arendt.
This dissertation is the result of an analysis that intends to understand how the cinema has been dealing with the Holocaust theme since the post-war period until today. Taking as objects of study eleven films from different eras, this study tries to understand which of the films honor the memory of the Jewish genocide and which use it only as a tool, by the film industry, to obtain profit. The analysis of the films will be based mainly on the question of the confrontation between the memory of the event and the imagination of the filmmaker. As far as post-war cinema is concerned, three films will be analyzed - The Stranger (Orson Welles, 1946), The Last Stage (Wanda Jakubowska, 1947), and The Search (Fred Zinnemann, 1948). Regarding comedies three films will also be analyzed - Jakob the Liar (Peter Kassovitz, 1999), Train of Life (Radu Mihaileanu, 1998) and Life is Beautiful (Roberto Benigni, 1997). The Devil's Arithmetic (Donna Deitch, 1999) will be analyzed in a context of cinema for "the whole family." Finally, the films Son of Saul (Lázló Nemes, 2015), Jojo Rabbit (Taika Waititi, 2019), Inglourious Basterds (Quentin Tarantino, 2003) and The Boy in the Striped Pajamas (Mark Herman, 2008) will be analyzed, films that appear already in the 21st century. In the first phase of this dissertation, several concepts of great importance for the analysis of the exposed films will be analyzed, being these, the concepts of memory and post-memory and the concepts of totalitarianism, "banality of evil" and concentration camps, being that the analysis of these last three focuses strongly on the thought of Hannah Arendt.
This dissertation is the result of an analysis that intends to understand how the cinema has been dealing with the Holocaust theme since the post-war period until today. Taking as objects of study eleven films from different eras, this study tries to understand which of the films honor the memory of the Jewish genocide and which use it only as a tool, by the film industry, to obtain profit. The analysis of the films will be based mainly on the question of the confrontation between the memory of the event and the imagination of the filmmaker. As far as post-war cinema is concerned, three films will be analyzed - The Stranger (Orson Welles, 1946), The Last Stage (Wanda Jakubowska, 1947), and The Search (Fred Zinnemann, 1948). Regarding comedies three films will also be analyzed - Jakob the Liar (Peter Kassovitz, 1999), Train of Life (Radu Mihaileanu, 1998) and Life is Beautiful (Roberto Benigni, 1997). The Devil's Arithmetic (Donna Deitch, 1999) will be analyzed in a context of cinema for "the whole family." Finally, the films Son of Saul (Lázló Nemes, 2015), Jojo Rabbit (Taika Waititi, 2019), Inglourious Basterds (Quentin Tarantino, 2003) and The Boy in the Striped Pajamas (Mark Herman, 2008) will be analyzed, films that appear already in the 21st century. In the first phase of this dissertation, several concepts of great importance for the analysis of the exposed films will be analyzed, being these, the concepts of memory and post-memory and the concepts of totalitarianism, "banality of evil" and concentration camps, being that the analysis of these last three focuses strongly on the thought of Hannah Arendt.
Descrição
Palavras-chave
Cinema Holocausto Memória Pós-Memória Holocaust Memory Post-Memory