Immerse Youself in Hell. The Son of Saul and the Crisis of the Representation of the Image
Abstract
The images of Saul’s Son brought back to the centre of the debate the great controversy about what is representable and unrepresentable when the Holocaust is filmed. The purpose of this article is to explain why the film by László Nemes reopened a crisis that seemed to be finished, due to the novelty of its ethical and aesthetic approach. So, this text delves into the two conflicting versions that have capitalized this controversy throughout history —with Lanzmann and Didi-Huberman at the head of each one, respectively— in order to analyze the mentioned hungarian film and demonstrate the originality of its cinematographic bet: his claustrophobic image, the unique viewpoint centralized on the protagonist, the sensorial immersion in hell, the importance of sound or his respect for what happened as his strong points.Downloads
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