FILM Late in Boxing Gym, a pungent documentary even for Frederick Wiseman, an old-timer says something wise to his friend while lacing up. The friend doesn't see the point of analogies. Our man admits that some only work on an intellectual level, but insists that others make intuitive sense of abstraction — the right metaphor can make all the difference in getting a particular movement. It's hard to imagine that Wiseman would still be making his films if he didn't think the same held true for a motion picture sequence.Read more »
I saw my first movie when I was four or five: it was a revival of 101 Dalmations (1961), and I liked it enough to ask my mother if we could sit through it a second time (we did). I saw my second first movie when I was 19: it was a nine-minute short by Bruce Baillie titled Valentin de las Sierras (1967), and after seeing it I knew film history must be full of secrets. Read more »
Documentaries that “tell” the Holocaust tend to employ archival footage generically as a kind of historical flavoring. It’s rare that we are asked to contemplate either the provenance of the images or the individual lives depicted. Yael Hersonski’s A Film Unfinished simultaneously confronts both of these gaps with a taut historiography of several reels of Nazi propaganda footage. Even in the German film’s inchoate form, we easily apprehend the propagandistic moves to further manipulate an already constructed reality (the Warsaw Ghetto) for objective “proof” of the necessity of Hitler’s Final Solution. And yet here before us, flowing at the speed of life, are the faces and places that would be destroyed within months of the filming.
Hersonski attempts to extricate the documentary value of this footage using frame-speed manipulations and edits which call attention to telling movements. She also films elderly survivors watching the footage alone in a darkened theater. In their capacity for recognition and incredulousness, they unravel the German point-of-view. By weaving these live responses with diary entries of those consigned to the ghetto along with the deposition of a German cameraman, Hersonski draws a fragmentary, highly specific account of the Holocaust’s crisis of representation. We discussed the film in a recent email exchange.
San Francisco Bay Guardian: The question of how to use archival footage responsibly is one that haunts the great Holocaust-themed films — Night and Fog (1955), Shoah (1985), and the films of Péter Forgács all find very different solutions. Can you describe the way your own attitudes regarding the appropriation of this archive developed during the time you worked on A Film Unfinished? Read more »