Lenzman shoah

Shoah is a 1985 French documentary film about the Holocaust,[a] directed by Claude
Lanzmann. Over nine hours long and 11 years in the making, the film presents Lanzmann's
interviews with survivors, witnesses and perpetrators during visits to German Holocaust
sites across Poland, including extermination camps.[5]
Released in Paris in April 1985, Shoah won critical acclaim and several prominent awards,
including the New York Film Critics Circle Award for Best Non-Fiction Film and the BAFTA
Award for Best Documentary. Simone de Beauvoir hailed it as a "sheer masterpiece", while
documentary maker Marcel Ophüls called it "the greatest documentary about contemporary
history ever made".[6] The film was not well received in Poland; the Polish government
argued that it accused Poland of "complicity in Nazi genocide".[7]
Shoah premiered in New York at the Cinema Studio in October 1985[8] and was broadcast
in the United States by PBS over four nights in 1987. In 2000 it was released on VHS and
in 2010 on DVD.[9] Lanzmann's 350 hours of raw footage, along with the transcripts, are
available on the website of the United States Holocaust Memorial Museum.[10][11]
The entire 566-minute film was digitally restored and remastered by The Criterion
Collection over 2012–13 in 2k resolution, from the original 16mm negatives. The monaural
audio track was remastered without compression. A Blu-ray edition in three disks was then
produced from these new masters, including three additional films by Lanzmann.

Holocaust is an account of two fictional German families from Berlin, prior to, and
during World War II—one is Christian, the members become Nazisout of economic
necessity, and the other is Jewish who become their victims.
The Aryan Dorf family is headed by Erik (Michael Moriarty), a German lawyer who
struggles to find work to support his wife Marta (Deborah Norton) and two young children,
Peter and Laura during the economic hardships in Germany. At his wife's insistence, Erik
joins the Nazi Party to earn income and rapidly advances within the SS. In a short time he
becomes the right-hand man of Reinhard Heydrich (David Warner) the top-level Nazi and
one of the engineers of the "Final Solution". As Erik rises through the ranks of the SS, he
accepts Nazi ideology and becomes loyal to "the Fatherland" and the Führer.
Coordinating mass murder bothers Dorf at first, but he grows more merciless as he
discovers that ideological fervor gains him prestige. This backfires after a feud with SS field
officers who resent his orders and they send an anonymous letter to Heydrich, accusing
Dorf of having Communist sympathies. These accusations stunt his career. After Heydrich
is assassinated in 1942, Dorf is put in charge of major extermination operations at
Nazi death camps. Dorf continues to follow orders, which require committing further war
crimes as well as covering them up.
The series also follows the Weiss family; a group of moderately wealthy German Jews,
headed by Dr. Josef Weiss (Fritz Weaver) a Polish-born general physician. His German-
born wife, Berta (Rosemary Harris), a talented pianist. is descended from a "Hoch-Deutsch"
family whose ancestors were ethnic German "court Jews" and friends of princes and
cardinals. Together, Josef and Berta have three children - Karl Weiss (James Woods),
an artist who is married to a Christian woman named Inga (Meryl Streep),
their football player son Rudi Weiss (Joseph Bottoms), and their preteen daughter Anna
Weiss (Blanche Baker). Other family members include Moses Weiss (Sam Wanamaker),
Josef's brother, a chemist from Warsaw; Heinrich Palitz (Marius Goring), an Iron Cross
recipient from World War One, and his wife (Nora Minor), Berta Palitz Weiss's parents, and
owners of an antiquarian bookstore.
Holocaust begins in 1935 in Berlin, with the wedding of Karl and Inga Helms, an "Aryan"
Christian woman - as well as the unemployed Erik and his sickly wife Marta, seeing Dr.
Josef Weiss who diagnoses Marta with a systolic heart murmur, and during the visit
discover that Dr. Weiss had also treated Erik Dorf's parents, as well as Erik during his
childhood, decades earlier. Later, unable to find decent employment, and struggling to
support his family, at the insistence of his wife, Erik applies for a job with the Nazi Security
Service and is interviewed by Reinhard Heydrich, deputy head of the SS.
This miniseries spans the period from 1938 to 1945 and covers the unfolding of the
Holocaust, the events from Kristallnacht to the Warsaw Ghetto Uprising, and the Sobibor
death camp revolt, and ultimately the end of World War II and the liberation of the camps. It
portrays the crimes of the Nazis, including the "Action T4" euthanasia murders of the
disabled, the Babi Yar massacre, the deportations to & imprisonment in the ghettos, and of
course, the murders of millions in the death camps. Throughout the series, each member of
the Weiss (and Palitz) family experiences hardships and ultimately meets a terrible fate, in
one way or another—and the events of Kristallnacht, in November 1938 are the turning
point and start of all the tragedy that befalls the Weiss family over the following 7 years.
The Kristallnacht attacks which are in retaliation for the assassination of the
Nazi[2] official Ernst vom Rath by Herschel Grynszpan, a seventeen-year-old German-born
Polish Jew living in Paris, was followed by additional economic and political persecution of
Jews, and it is viewed by historians as part of Nazi Germany's broader racial policy, and
the beginning of the Final Solution and The Holocaust.[3] So too it was, for the fictional
Weiss (and Palitz) family.
Within days of the Ernst vom Rath assassination and Kristallnacht, the eldest son, artist
Karl Weiss is arrested and sent to Buchenwald concentration camp, and because Heinrich
Palitz's home and bookstore is completely destroyed in the Kristallnacht attacks, he and his
wife are forced to move in with their daughter, Berta, son-in-law Josef, and their two
younger children, teenage son, Rudi, and preteen daughter, Anna. Meanwhile, after Karl's
wife, Inga, phones Berta and Josef to tell them Karl has been arrested, Josef visits Erik
Dorf, whose family had been his patients, and is now an SS officer rising through the ranks.
Previously (prior to the events of Kristallnacht), Dorf had appeared at Dr. Josef Weiss's
clinic to remind him that Jews were forbidden from having 'Aryan' patients and warn him to
stop treating non-Jews as well as encouraging him to leave Germany with his family before
it's too late, and telling him that if something happens later on, that Josef should not think of
coming to him for help based on their past association. But of course, when Karl is
arrested, out of desperation, Josef nevertheless goes to Erik Dorf's home and begs him to
intervene. But backed by his ambitious wife, Marta, who urges him not to risk his career in
the SS by being seen as being sympathetic to (or getting involved with helping) Jewish
people, Dorf refuses, and turns Josef away, literally shutting the door in his face.

En la mitología griega, la romana y en el Ciclo épico,1

Laocoonte (en griego Λαοκόων Laokóōn) era el sacerdote de Apolo Timbreo en Troya,
casado con Antiopa y padre de dos hijos. Fue atacado, junto con sus dos hijos, por
serpientes gigantes enviadas por los dioses. Aunque no lo menciona Homero, la historia
de Laocoonte fue el tema de una tragedia, hoy perdida, de Sófocles y lo mencionaron
otros escritores griegos, aunque los acontecimientos en torno al ataque por las serpientes
varían considerablemente.
El relato más famoso de los acontecimientos está en la Eneida de Virgilio, donde
Laocoonte era sacerdote de Poseidón (o Neptuno para los romanos), quien fue muerto
junto con sus del Caballo de Troya golpeándolo con una lanza.2 Después de que los
sitiadores aqueos hubieran simulado una retirada, los troyanos encontraron
un caballo construido de madera en las puertas de Ilión.
Laocoonte pronuncia la famosa frase Timeo Danaos et dona ferentes «(Desconfío de los
dánaos (griegos) incluso cuando traen regalos»),3 alertando a los troyanos de que podría
ser una trampa, que dentro del caballo podía haber tropas aqueas y sugirió quemarlo, pero
los troyanos no le hicieron caso. En su osadía lanzó palos en llamas para tratar de quemar
el caballo de madera, en ese momento dos grandes serpientes mandadas por Atenea,
Caribea y Porce, emergen de las aguas y devoran a sus hijos. Angustiado, se lanza a
luchar contra las serpientes y también resulta devorado.
De la de Laocoonte se debe a la profanación que supone tratar de destruir un regalo a la
deidad, razón por la cual nadie le creyó. Otra tradición distinta dice que Laocoonte había
roto la prohibición de Apolo al casarse y tener hijos. Otra fuente añade que Laocoonte
habría profanado la imagen de Febo, cuando se unió en himeneo delante de la imagen.

Hailed as a masterpiece by many critics, Shoah was described in the New York Times as
"an epic film about the greatest evil of modern times."[8] According to Richard
Brody, François Mitterrandattended the first screening in Paris in April 1985 when he was
President of France, Václav Havel watched it in prison, and Mikhail Gorbachev arranged
public screenings in the Soviet Union in 1989.[30]
In 1985 critic Roger Ebert described it as "an extraordinary film" and "one of the noblest
films ever made".[33] He wrote: "It is not a documentary, not journalism, not propaganda, not
political. It is an act of witness."[34] Review aggregator website Rotten Tomatoes shows
a 100% score, based on 33 reviews, with an average rating of 9.2/10. The website's critical
consensus states: "Expansive in its beauty as well as its mind-numbing horror, Shoah is a
towering — and utterly singular — achievement in cinema."[35] Metacritic reports a 99 out of
100 rating, based on four critics, indicating "universal acclaim".[36] As of May 2018 it is the
site's 20th highest-rated film, including re-releases.[37]
Time Out and The Guardian listed Shoah as the best documentary of all time in 2016 and
2013 resp poll, film critics voted it second of the best documentary films of all time.[39] In
2012 it ranked 29th and 48th respectively in the BFI's critics' and directors' polls of the
greatest films of all time.[40]
The film was criticized in Poland. Mieczyslaw Biskupski wrote that Lanzmann's "purpose in
making the film was revealed by his comments that he 'fears' Poland and that the death
camps could not have been constructed in France because the 'French peasantry would
not have tolerated them'".[41] Government-run newspapers and state television criticized the
film, as did numerous commentators; Jerzy Turowicz, editor of the Catholic
weekly Tygodnik Powszechny, called it partial and tendentious.[42] The Socio-Cultural
Association of Jews in Poland (Towarzystwo Społeczno-Kulturalne Żydów w Polsce) called
it a provocation and delivered a protest letter to the French embassy in Warsaw.[43] Foreign
Minister Władysław Bartoszewski, an Auschwitz survivor and an honorary citizen of Israel,
criticized Lanzmann for ignoring the thousands of Polish rescuers of Jews, focusing instead
on impoverished rural Poles, selected to conform with his preconceived notions.
roots) and dissident, was puzzled by Lanzmann's omission of anybody in Poland with
advanced knowledge of the Holocaust.[44] In his book Dziennik pisany nocą, Herling-
Grudziński wrote that the thematic construction of Shoah allowed Lanzmann to exercise a
reduction method so extreme that the plight of the non-Jewish Poles must remain a
mystery to the viewer. Grudziński asked a rhetorical question in his book: "Did the Poles
live in peace, quietly plowing farmers' fields with their backs turned on the long fuming
chimneys of death-camp crematoria? Or, were they exterminated along with the Jews as
subhuman?" According to Grudziński, Lanzmann leaves this question unanswered, but the
historical evidence shows that Poles also suffered widespread massacres at the hands of
the Nazis.[44]