De gruwelen van de holocaust overstijgen de grenzen van wat nog gerepresenteerd kan worden. Geen beeld kan die vernietiging in haar ware omvang laten zien. Het is de gedachte achter Alain Resnais' documentaire NUIT ET BROUILLARD (1955). In onderstaand artikel geeft Sonja de Leeuw de film een plaats in de discussie rond de historische documentaire representatie. De verbeelding van de holocaust speelt in die discussie een cruciale rol.Het artikel is een bewerking van de lezing die De Leeuw hield op de najaarsconferentie van de Vereniging Geschiedenis Beeld en Geluid, 13 november 1988 in Amsterdam.Witness to the holocaust. The film NUIT ET BROUILLARD in the history of the (historical) documentary representationThe atrocities of the holocaust surpass the boundaries of what can actually be shown. No image could ever accurately encompass the scope of destruction. Alain Resnais believed that and used it as the guiding philosophy behind his documentary NUIT ET BROUILLARD (1955). In her article, Sonja de Leeuw places the film in the discussion surrounding historical documentary representation with the image of the holocaust playing a crucial role.The article is based on the lecture De Leeuw gave on 13 November 1988 in Amsterdam during the History of Sound and Image Association's autumn convention.

Netherlands Institute for Sound and Vision
Tijdschrift voor Mediageschiedenis
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TMG Journal for Media History; Vol 2, No 1 (1999): Media & oorlog; 78-88

de Leeuw, Sonja. (1999). Getuigen van de holocaust. De film NUIT ET BROUILLARD in de geschiedenis van de (historische) documentaire representatie. Tijdschrift voor Mediageschiedenis, 2(1), 78–88. doi:10.18146/tmg.34