Abstract
This essay reads Cinema Documents of the Atrocities of the German-Fascist Invaders (1945) as visceral testimony for the Soviet prosecution’s evidence testifying to crimes against the civilian population of Eastern Europe; it was a film designed to ‘wound’ the Nuremberg courtroom while corroborating the spoken and written word. By applying Barthesian concepts to my analysis, as well as referencing theorists such as Judith Butler and Susan Sontag, the film’s sensitive imagery is provided with the required contextualisation, as well as facilitating discussions on modes of affect and questions of grievability. At Nuremberg, I argue that the film had a potential of grievability that surpassed all other modes of communication, which in turn elucidates the potential of its evidential power.
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