New Cinemas Journal of Contemporary Film by Various Authors
By Various Authors
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B. Nelson, Director’s Notes and Screenplay, pp. xvi–xviii. Knoch, H. (2001), Die Tat als Bild: Fotografien des Holocaust in der deutschen Erinnerungskultur, Hamburg: Hamburger Edition. Koch, G. (2002), ‘Film, Fernsehen und neue Medien’, V. Knigge and N. H. Beck, pp. 412–422. Köppen, M. R. ) (1997), Bilder des Holocaust: Literatur, Film, bildende Kunst, Cologne: Böhlau. ——— (1997), ‘Der Streit um die Darstellbarkeit des Holocaust’, Bilder des Holocaust, pp. 1–12. Köppen, M. (1997), ‘Von Effekten des Authentischen’, Bilder des Holocaust, pp.
2 This ‘haunting’ has perhaps been facilitated by the fact that Moro, once a powerful figure, has left no legacy in Italian political life. As David Moss has argued, well before the dissolution of the 12:48 PM Page 34 misteri d’Italia (Italian mysteries) and in the vein of dietrologia, or conspiracy theory. Some have claimed that Moro was allowed to die for tactical reasons by his rivals in the DC; others have claimed that the BR were infiltrated by the Italian secret services or even by the CIA, and that the kidnap was orchestrated as a Cold War action intended to keep the PCI – the largest communist party in the capitalist world – away from government.
The jarring interpolation of sequences from other films, while illustrating Chiara’s subjectivity, also forces our attention to how film constructs our impression of history precisely though a rhetorical invocation and embellishment of the ‘facts’. But this process always occurs in negotiation or dialectic with other texts and discourses – including, naturally, other films. Thus, if the clip of Stalin benignly waving to an adoring crowd is unlikely to impress us today with anything but its sinister absurdity, the glimpse of the Italian partisans being drowned from the end of Rossellini’s Paisà has lost none of its power to move or to mythologise the struggle against Nazi-Fascism at the end of the Second World War in Italy.