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[...]
If, today, the discussion of representation for these works was brought up, Night and Fog by
Alain Resnais would fit better to the requirements of a Holocaust representation compared
to Steven Speilberg's Schindler's List. Some people say that Night and Fog is too old and
some of the events might not have been discovered, but as a documentary, it is very natural,
neither exaggerated like other Holocaust movies, nor like happily ending ones, including
Schindler's List. In the movie, the concentration camps, with the fingerprints, and some
recordings from the World War II, which have nothing to do with discovering events during
the Holocaust, are exposed to the viewer...
[...]
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[...]
Jules and Vincent are walking along a corridor, on their way to murder several people; the
only light is coming from the ends of the corridor. This could possibly be symbolising the
light at the end of the tunnel, often talked about as being what one sees when one dies.
Light in this sequence has a biblical effect and alludes to future events in the film. When
they enter the flat where the boys are having breakfast, Jules is lit from the back and the
top creating a halo effect, giving him an angelic appearance.
[...]
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[...]
The miners are portrayed as an 'ugly mob' in contrast to Billy's gracefulness. In one
sequence, scenes of minors attempting to stop scab labour are interlaced with those of
Billy practising ballet steps. This collective expression of the miners is defined as
negative in opposition to the self-expression of Billy. Indeed the notion of collectivity is
depicted as suffocating the individual. Billy is under constant pressure to conform to
expected norms by his father, who in turn is subjected to similar pressure of picket lines.
At no point in the film does Daldry portray the strike as a potentially liberating experience.
[...]
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