MICHAEL

HANEKE
KO GUSSA
KYON
ATA HAI
reality
narrative
adaptation
ethics
entertainment

SEASON
ONE
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HANEKE
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ATA HAI

HOLOCAUST SHOAH
burnt offering catastrophe
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HANEKE
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ATA HAI
2004 1993
directed by directed and produced by

oliver hirschbiegel steven spielberg

produced and screenplay by based on

bernd eichinger non-fiction novel

it is set during schindler’s ark by
the battle of berlin in australian novelist
world war ii, when thomas keneally
nazi germany is on received universal critical

the verge of defeat,

acclaim for its

acting, atmosphere,
and depicts the final
spielberg’s direction
days of adolf hitler
earned
reception
$322 million
the film grossed
worldwide on a $22
over $92 million and
million budget
received favourable
nominated for
reviews from critics
let’s watch what haneke told@oscar’s rountable
12 academy awards,
controversy
and won 7. also
hitler’s portrayal as
won 7 baftas and 3
a human being with
golden globes.
emotions
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OBJECTION
‘humanising a killer’ genocide as public
like hitler entertainment

REAL

REEL
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OBJECTION
jean-luc godard accused spielberg of using the film to
make a profit out of a tragedy while schindler's wife, emilie
schindler, lived in poverty in argentina

michael haneke on the scene in which schindler's women are

herded into showers in auschwitz : "there's a scene in that
film when we don't know if there's gas or water coming
out in the showers in the camp. you can only do something
like that with a naive audience like in the us. it's not an
appropriate use of the form. spielberg meant well – but it was dumb."

claude lanzmann, director of the 9-hour holocaust film

shoah, called schindler's list a "kitschy melodrama" and a
"deformation" of historical truth. "fiction is a
transgression, i am deeply convinced that there is a ban on
depiction [of the holocaust]".
he also criticized spielberg for viewing the holocaust through the
eyes of a german, saying "it is the world in reverse." he complained,
"i sincerely thought that there was a time before shoah, and a time
after shoah, and that after shoah certain things could no longer
be done. spielberg did them anyway."
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HANEKE
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ATA HAI
OBJECTION
sara horowitz points out that much of the jewish activity seen in the
ghetto consists of financial transactions such as lending money,
trading on the black market, or hiding wealth, thus perpetuating a
stereotypical view of jewish life

omer bartov notes that the physically large and strongly drawn
characters of schindler and göth overshadow the jewish victims,
who are depicted as small, scurrying, and frightened – a mere
backdrop to the struggle of good versus evil

horowitz also points out that the film’s dichotomy of absolute

good versus absolute evil glosses over the fact that most
holocaust perpetrators were ordinary people; the movie does not
explore how the average german rationalized their knowledge of
or participation in the holocaust

jason epstein comments that the movie gives the false impression that
if people were smart enough or lucky enough, they could survive
the holocaust
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OBJECTION

well-intended, but insensitive. showing unspeakable

horror michael haneke
transgresses the norms. deforms historical truth. makes
‘kitschy melodrama’ out of sheer evil. and made from a
german perspective claude lanzmann
it has reduced the entire horrific saga of shaoh to the
larger than life portrayals of schindler and göth. the
tragedy forms a mere backdrop omer bartov
firstly stereotypical portrayal of jewish people. secondly
it overlooks the fact that the ordinary germans too had
bloodstains on hands, albeit indirectly sara horowitz
making profit out of a tragedy whle depriving the wife of
schindler jean-luc godard
trivialising the horror of shoah making it more of a
chancy kind of an incident jason epstein
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HANEKE
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ATA HAI

INTERMISSION

is the “process by which members
of a culture use language… to
produce meaning”. it is the
organisation of signs, which we
use to understand and describe the
world, into a wider set of values
of ideologies. these meanings are
not fixed or “real”; they are
produced and defined by society.
stuart hall
MICHAEL
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production of meaning on a shared
cultural basis
organisation of signs, deployed into a
wider set of values of ideologies
the meanings are not ‘fixed’, so there’s
got to be a sense of mobility around the
production of meaning
also the meanings are not ‘real’ because
they’re constructed at certain point/s of
time and space by certain maker/s
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construct simulation responsibility ethics

adaptation
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HANEKE
society/history KO GUSSA
PUT THINGS
SEASON ONE
director KYON
ATA HAI
SIMPLY, system of production
product
OR RATHER A market/media
A TAD
SYMPLISTICALLY

system product
of
production

society/history

THE POLITICS
director
market/media
product
OF THE
director
RECONSTRUCTION
society/history
market/media
OF HISTORY, OR
system of production ADAPTATION
product
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HISTORY SPECTACLE
FACT AS FICTION
REALITY COMMODITY
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WHO WHAT HOW WHY TO WHOM

HANEKE
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MICHAEL
HANEKE
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how evil is
enough evil or
the riddle
of the
hitler-on-screen

SEASON
TWO