In the Image: The Transformation of Cinematic Shoah Representations in Michael Glawogger's Kill Daddy Goodnight
One of the most complicated questions in film and theater relating to the Shoah is how to render the events visible. Through an analysis of Michael Glawogger's , a film based on the eponymous novel by the Austrian writer Josef Haslinger, this article outlines one possible new approach. Glawogge...
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| Veröffentlicht in: | New German critique 2014, Vol.41 (3), p.95-112 |
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| container_title | New German critique |
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| creator | Eke, Norbert Otto |
| description | One of the most complicated questions in film and theater relating to the Shoah is how to render the events visible. Through an analysis of Michael Glawogger's
, a film based on the eponymous novel by the Austrian writer Josef Haslinger, this article outlines one possible new approach. Glawogger's film is an attempt to adopt the strategies of art cinema for use in a feature film, but
does not turn away from the terrors of history. Rather, it experiments with varied aesthetic forms and dramaturgical practices, depicting the Shoah yet maintaining the idea of redemption. |
| doi_str_mv | 10.1215/0094033X-2753600 |
| format | Article |
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| source | Jstor Complete Legacy |
| subjects | Cultural Studies European History European Studies Fathers Grandfathers History Holocaust Jewish peoples Killing Morality Movies Popular culture Sons |
| title | In the Image: The Transformation of Cinematic Shoah Representations in Michael Glawogger's Kill Daddy Goodnight |
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