홀로코로스트 영화의 계보 속에서 살펴본 재현윤리와 들뢰즈적 표현: <밤과 안개>에서 <존 오브 인터레스트>까지

초록

ebates on Holocaust cinema have long been dominated by the question of “the impossibility of representation” and the ethics of visualizing unprecedented violence. This article revisits that debate through the theoretical lenses of Theodor Adorno, Giorgio Agamben, Jean-François Lyotard, Jacques Rancière, and Hannah Arendt, and offers a comparative reading of Alain Resnais’s Night and Fog, Claude Lanzmann’s Shoah, László Nemes’s Son of Saul, and Jonathan Glazer’s The Zone of Interest. I argue that a decisive shift from representation to expression—understood in a Deleuzian sense—reconfigures both the aesthetic and ethical horizons of Holocaust cinema. Night and Fog and Shoah stage divergent strategies: the former combines archival atrocity footage with poetic commentary, while the latter radically excludes archival images in favor of testimony. Both, however, risk turning the discourse of non-representability into a rigid ethical norm. Son of Saul responds by mobilizing an extremely limited point of view, facial close-ups, and an acoustic excess that displaces visual spectacle into affective and ethical experience, redistributing the boundaries between victim, collaborator, and perpetrator. The Zone of Interest pushes this shift further by juxtaposing the placid surface of a “home drama” in the camp commandant’s garden-paradise with a dissonant soundscape and sensory markers of smell and touch that leak in from beyond the wall. Through observational camera systems, sound design, thermal imagery, and the final museum-cleaning sequence, the film enacts expression rather than representation, exposing Auschwitz as a “zone of non-responsibility” and a paradigmatic form of repeated difference. In doing so, the article proposes Holocaust cinema as an expressive field that redistributes the sensible and reopens the question of responsibility and response for those who come after.

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