@article{article_96706, title={The Politics of Remembering in Cinema: Night and Fog}, journal={Galatasaray Üniversitesi İletişim Dergisi}, pages={101–118}, year={2015}, DOI={10.16878/gsuilet.96706}, url={https://izlik.org/JA38GJ35PD}, author={Yıldız, Pınar}, keywords={film studies, trauma studies, memory, representation, post-traumatic cinema}, abstract={The Politics of Remembering in Cinema: Night and FogTracing the problems of representing the Holocoust or alike traumas, in other words, endeavoring to translate the traumas into the cinema language enables us to discuss the ethical-political dimension of reminding the past on the cinema screen. Alain Resnais’ movie Night and Fog (1955) positions in the intersection of trauma studies and film studies. The movie has been in the center of discussions on representation because of its narrative, using the real images of genocide directly while merging black and white archive images of Auschwitz and Birkenau concentration camps and contemporary colored images. The form of the movie is composed by the moments of collapse of the narrative, silences, gaps and encounters in which the traditional narrative form fails to represent. However, it is not adequate to explain Night and Fog’s significance in the cinema history only by its formal choices. The ethical position which this formal choices locate us as audiences is the main reason of this movie’s privileged status in regard to the representability of trauma in cinema. The relation of the movie with the past through its form creates an ethical realm by calling the audience to take responsibility for what he/she sees on the screen. Therefore, Night and Fog bears its status as the reference point of “representational ethics” in the history of cinema}, number={22}