Abstract
Adolf Eichmann’s trial (1961) redefined Holocaust witnessing and opened a space for memoirs and cinematic productions based on testimonies of Holocaust survivors, revenants and witnesses. Their testimonies effectively embody the liminal space between life and death, best exemplified by the Muselmann who lives in a ‘state of exception’, as outlined by Levi in If This Is a Man (1947) and defined by Giorgio Agamben. Early films that established witnessing as a sub-genre of Holocaust films were produced in the Eastern Bloc, and include Wanda Jakubowska’s The Last Stage (1947), and Jan Kadar and Elmer Klos’ The Shop on Main Street (1965). The trend had faded away by the time that the paradigmatic survivor film, Roman Polanski’s The Pianist (2002), was released.
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