Abstract
“What film ‘after Auschwitz’?” The question was often asked by a panel of critics and French film lovers, in particular through the positions of Jean-Luc Godard and Serge Daney, and in the open sense that Jacques Rivette displayed with his text on Kapo from Pontecorvo. In the face of films made by George Stevens and Samuel Fuller in 1945, we rephrase the question as follows: what movies in their moment do the camp scenes come to them? Ever since photography and film existed, the horrors of war and massacre have always had their images, but this was meant to purpose something else. It was a supplement that we did not recognize immediately, how to see and name, and upon outset was received to portray more violence than the war that was concealed.
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