Abstract
The author of the article, one of the acclaimed Polish cinematographers, describes his practical eforts involved in making two short documentary films on Holocaust directed by him. The first one,Sonderzug (1978), was based on Stok’s idea to recreate his first emotional reaction to the landscape around Treblinka in the film that lasts 9 minutes, as long as the way of the Jews from the ramp to their end in the death camp. The other film, Prayer (1981), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. The formal inspiration of the film came from Japanese visual art.
Highlights
E author of the article, one of the acclaimed Polish cinematographers, describes his practical e orts involved in making two short documentary lms on Holocaust directed by him. e rst one, Sonderzug ( ), was based on Stok’s idea to recreate his rst emotional reaction to the landscape around Treblinka in the lm that lasts minutes, as long as the way of the Jews from the ramp to their end in the death camp. e other lm, Prayer ( ), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. e formal inspiration of the lm came from Japanese visual art
: Holocaust, documentary lm, author cinema, Japanese art, making-o, short lm Ingmar Bergman writes: “as far back as I can remember, I carried a grim fear of death.”[ ]. His wrestling with it in e Seventh Seal was a powerful personal early in uence
German farmers from around the Gross Rosen concentration camp had to put their names on a waiting list for sacks of the best fertiliser, human ashes from the crematorium
Summary
E author of the article, one of the acclaimed Polish cinematographers, describes his practical e orts involved in making two short documentary lms on Holocaust directed by him. e rst one, Sonderzug ( ), was based on Stok’s idea to recreate his rst emotional reaction to the landscape around Treblinka in the lm that lasts minutes, as long as the way of the Jews from the ramp to their end in the death camp. e other lm, Prayer ( ), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. e formal inspiration of the lm came from Japanese visual art. E rst one, Sonderzug ( ), was based on Stok’s idea to recreate his rst emotional reaction to the landscape around Treblinka in the lm that lasts minutes, as long as the way of the Jews from the ramp to their end in the death camp.
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