Chapter 5 contextualises Didi-Huberman’s contribution to Holocaust discourse and the polemics that erupted following the Mémoire des camps exhibition in 2001. Didi-Huberman’s accompanying catalogue essay provoked impassioned debates concerning the relationship between images, history, trauma and the Holocaust. This chapter argues Didi-Huberman’s important text Images malgré tout (Images in Spite of All) marked a significant intervention in Holocaust discourse that promoted the ineffable, unrepresentable nature of the event. Furthermore, it signalled a turn in Didi-Huberman’s research, as he becomes increasingly concerned with the political efficacy of images from this point onwards. This chapter argues that Didi-Huberman is now influencing a younger generation of filmmakers who are taking up the task of representing the Holocaust. By way of a close reading of László Nemes’s Saul Fia (Son of Saul, 2015), Chapter 5 demonstrates the film was developed explicitly in dialogue with the arguments Didi-Huberman advanced in Images in Spite of All.
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