Horror Movies: The Presentation of the Human Body in Holocaust Films
It is not easy to watch a Holocaust film. It is disturbing, even traumatic, to see so many people endure the tortures of the ghettos and the concentration camps. And even though the pain of the victims and the grief of the survivors are not really happening to us, it is not enough to say “it’s only a movie.” It is a movie, but a movie can mean so much. In Susan Sontag’s Regarding the Pain of Others, she brings attention to the fact that during the aftermath of 9/11, the gruesome occurrences of that day were often recounted by witnesses as “like a movie.” This is proof that, since WWII, both the near-elimination of domestic warfare and the cementation of cinema in popular culture have caused the Western—or American, anyway—concept of extreme suffering to largely be shaped by film depiction instead of by flesh-and-blood experience.
I want to see you under a streetlight
in an angel orange spotlight how I
need to see you beneath fluorescent lamps
that unforgiving green halo I want
some electricity for murdering
the darkness that keeps you from me I need
a torch to burn down what I can’t see
I want to force the blindness outside
myself so that I could have you again
even if it’s only in my line of vision
shadows and shades cannot keep me from you
nor the unseen phantoms of the alleys
when need and want are my only guidance
to keep the long night from a life inside us.