If this is a father
In the film by László Nemes, Son of Saul (2015), the main character finds a dying child who has survived the gas chamber at Auschwitz-Birkenau camp, whom a SS doctor suffocates with his own hands. The scene of this murder confronts Saul (Géza Röhrig) within his limits as a living being; then he deci...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2016
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/16493 |
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I10-R324-article-164932020-02-06T11:47:45Z If this is a father Si esto es un padre Girona Fibla, Nuria László Nemes El hijo de Saúl Shoah Auschwitz-Birkenau Horror László Nemes Son of Saul Shoah Auschwitz-Birkenau Horror In the film by László Nemes, Son of Saul (2015), the main character finds a dying child who has survived the gas chamber at Auschwitz-Birkenau camp, whom a SS doctor suffocates with his own hands. The scene of this murder confronts Saul (Géza Röhrig) within his limits as a living being; then he decides with determination that this body will not be added to the machinery of death which is the death camp and desperately looks for a rabbi to bury him. This article analyzes the enigmatic obstinacy of this character in relation to the limits of human life that Nazism put on the line Nazism, and to the visual boundaries of horror representation that the film presents. Because precisely, in the radical meeting point between the edge of the images and the edge of death, a space to imagine human life, despite everything, it’s opened up. En la película de László Nemes, El hijo de Saúl (2015), el protagonista encuentra a un niño agonizante que ha sobrevivido a la cámara de gas en el campo de Auschwitz-Birkenau y a quien después un médico de las SS asfixia con sus propias manos. La escena de este asesinato confronta a Saúl (Géza Röhrig) en sus límites como viviente; decide con determinación entonces que este cadáver no se sumará a la maquinaria de muerte que es el campo de exterminio y busca desesperadamente un rabino para enterrarlo. Este artículo analiza la enigmática obstinación de este personaje en relación con los límites de la vida humana que puso en juego el nazismo y con los límites visuales de la representación del horror que presenta el film. Porque justamente, en el radical punto de encuentro entre el borde de las imágenes y el borde de la muerte se abre un espacio para imaginar, pese a todo, la vida humana. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2016-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/16493 10.31056/2250.5415.v6.n3.16493 Ética y Cine Journal; Vol. 6 Núm. 3 (2016): Antigone; 17-22 2250-5415 2250-5660 10.31056/2250.5415.v6.n3 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/16493/16317 Derechos de autor 2016 Ética&Cine Journal |
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Universidad Nacional de Córdoba |
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I-10 |
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R-324 |
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Ética y Cine Journal |
| language |
Español |
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Artículo revista |
| topic |
László Nemes El hijo de Saúl Shoah Auschwitz-Birkenau Horror László Nemes Son of Saul Shoah Auschwitz-Birkenau Horror |
| spellingShingle |
László Nemes El hijo de Saúl Shoah Auschwitz-Birkenau Horror László Nemes Son of Saul Shoah Auschwitz-Birkenau Horror Girona Fibla, Nuria If this is a father |
| topic_facet |
László Nemes El hijo de Saúl Shoah Auschwitz-Birkenau Horror László Nemes Son of Saul Shoah Auschwitz-Birkenau Horror |
| author |
Girona Fibla, Nuria |
| author_facet |
Girona Fibla, Nuria |
| author_sort |
Girona Fibla, Nuria |
| title |
If this is a father |
| title_short |
If this is a father |
| title_full |
If this is a father |
| title_fullStr |
If this is a father |
| title_full_unstemmed |
If this is a father |
| title_sort |
if this is a father |
| description |
In the film by László Nemes, Son of Saul (2015), the main character finds a dying child who has survived the gas chamber at Auschwitz-Birkenau camp, whom a SS doctor suffocates with his own hands. The scene of this murder confronts Saul (Géza Röhrig) within his limits as a living being; then he decides with determination that this body will not be added to the machinery of death which is the death camp and desperately looks for a rabbi to bury him. This article analyzes the enigmatic obstinacy of this character in relation to the limits of human life that Nazism put on the line Nazism, and to the visual boundaries of horror representation that the film presents. Because precisely, in the radical meeting point between the edge of the images and the edge of death, a space to imagine human life, despite everything, it’s opened up. |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2016 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/16493 |
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AT gironafiblanuria ifthisisafather AT gironafiblanuria siestoesunpadre |
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2024-09-03T20:50:37Z |
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2024-09-03T20:50:37Z |
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