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ALIENATION AND HOPE: AN EXISTENTIAL STUDY OF
THE PIANIST
R. Es he & K. Jegana han
Pos g adua e S uden s
Chikkanna Go e nmen A s College, Ti uppu
es [email protected]
h ps://doi.o g/10.5281/zenodo.17283309
Abs ac
This Pape looks a he mo ie, The Pianis , om 2002, di ec ed by Roman Polanski, ocusing on wha i
e eals abou being human. This ilm sha es he eal expe iences o Władysław Szpilman, a Jewish piano
playe who li ed h ough he e ible e en s in Poland when Nazis con olled he coun y du ing Wo ld Wa
II. The mo ie uses eal his o y, ye i explo es imeless ideas abou wha happens o people when alues b eak
down. This esea ch looks a he ideas o Sø en Kie kegaa d, Jean-Paul Sa e, Albe Camus o in es iga e
opics like eeling disconnec ed, being alone, ha ing choices, wo ying abou dying, ying o ind pu pose
when he wo ld eels unca ing. Szpilman slowly became dis an om his amily, his communi y, e en who he
was. This e eals a p o ound eeling o being cu o om li e. T a eling alone h ough uin, sadness shows
wha Camus hough abou people. We need o c ea e ou own easons o li ing, e en i li e doesn’ come
wi h one buil in. E en when eeling powe less, Szpilman’s decisions show how much people con ol hei
own li es, how accoun able hey a e o wha hey do. Music shows de iance, i eels genuinely eal, i sugges s
possibili y, i displays s eng h. The Pianis shows us mo e han his o y. I powe ully explo es how people
bounce back, ou du y o do wha ’s igh , he e o o ind pu pose when hings a e ough, unp edic able,
unca ing.
Keywo ds: Aliena ion, Cinema, Exis en ialism, Hope, Iden i y c isis, Music, Su i al, Wa .
In oduc ion
Roman Polanski’s mo ie The Pianis (2002) showcases one o he wo s pe iods o mankind
h ough he a duous jou ney o an indi idual. The mo ie, which is based on a dia y o a Jew,
shows he su e ed a lo , los amily, and led om his ci y ha he opponen has aken o e .
Al hough he s o y was inspi ed by a wa , i is no me ely a ale o su i ing a wa . The human
condi ion, ee will, esponsibili y o one’s choices, su e ing as a gi en, and inding meaning
amid chaos in an indi e en uni e se a e some o he big ques ions ha he ilm g apples wi h.
A s udy o he exis en ialis philosophy o he likes o Sø en Kie kegaa d, Jean-Paul Sa e and
Albe Camus, h ough he ilm The Pianis . These hinke s a e ackling absu di y, despai , and
eedom in human li e. They show how in a senseless wo ld, meaning is necessa y. Th ough
Szpilman’s expe iences, he exis en ial ques ion abou being a ic im o physical opp ession and
he in e nal issue o losing onesel a e e ealed. In The Pianis , he one is calm and es ained,
ocusing on mundane and o en g im choices o su i al ha encapsula e he exis en ial
expe ience o li ing in a wo ld wi h li le ce ain y o gua an ees. Szpilman’s li e is modi ied in
he mo ie by he di ec o o emb ace a mo e expansi e ision o humani y. This pape analyzes
he psychological and mo al, and spi i ual ea u es o Szpilman’s su i al as depic ed in he
Pianis . I a gues ha he ilm depic s a momen o his o ic ho o and asks c ucial exis en ial
ques ions ele an o li e a u e and philosophy.
Theo e ical F amewo k: Exis en ialism and I s Key Thinke s
The philosophy o exis en ialism deals wi h eedom, isola ion and absu di y in he wo ld.
I g ew signi ican ly in he 19 h and 20 h cen u ies. This mo emen emphasizes ha li e has no
inhe en meaning. People ha e o c ea e pu pose o hemsel es by he way hey ac . The
exis en ial p ojec becomes c ucial when such s uc u es as eligious, poli ical, social ail. The
unc ion o Szpilman in The Pianis can be deciphe ed h ough he ideas o Kie kegaa d, Sa e
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and Camus. Kie kegaa d is o en seen as he a he o exis en ialism. His wo k is abou he
despai ha people eel when hey eel inau hen ic o sca e ed. His leap o ai h is he
passiona e commi men o he indi idual a he poin o unce ain y. Szpilman’s descen in o
despai and dis ancing om socie y s ands in ela ion o Kie kegaa d’s emphasis on he
indi idual expe iencing exis en ial despai . Sa e ejec ed he idea ha we ha e a ue sel ,
a he , he said, we exis i s o all.
In exis en ialism, a pe son is h own when hey make a choice. E en in he mos limi ing
si ua ions, Sa e belie ed ha one is condemned o be ee. They a e esponsible o inding
meaning in hei li es. Camus saw li e as absu d. Li e has no meaning, bu i can s ill be li ed.
Camus p o ided a solu ion: ace absu di y and a i m li e wi hou any god o essence
unde nea h. Ou s udy’s c i ical ounda ion consis s o Kie kegaa d’s despai combined wi h
Sa e’s eedom and Camus’s absu di y. In hose ligh s, he mo ie The Pianis , in a sense, goes
beyond he le el o a his o ical accoun . I is a deep explo a ion o endu ing, choosing, and
a i ming li e e en in ex eme absu di y.
F om Philosophy o Film: Exis en ialism in Szpilman’s Jou ney
The Pianis o Roman Polanski s ands abo e an accoun o his o ical signi icance
su ounding Wo ld Wa II; i is an emo ional and philosophical ilm ha gi es li e o exis en ial
hough s. The na a i e cen e s a ound Władysław Szpilman, a gi ed pianis o Jewish o igin
om Wa saw, whose li e was des oyed by he Nazi in asion. Ini ially, Szpilman li ed a s able
li e illed wi h music, amily, and g a i ica ion. The a he he wa goes on, howe e , he mo e
Szpilman loses e e y hing, including his lo ed ones, ca ee , home, and iden i y. Now, ha he
was going om an es eemed musician o a silen su i o in he mids o uins, i was one deep
exis en ial pa hway. This ans o ma ion e lec s he hinking o philosophe s such as Sø en
Kie kegaa d, Jean-Paul Sa e, and Albe Camus.
Kie kegaa d's de ini ion o despai can be pe cei ed in Szpilman's g ea inne su e ing. As
he loses his amily and social s anding, he des uc ion o his sense o sel also becomes eminen .
He ceased alking; he ceased o pe o m; he ceased o in e ac wi h o he s. His despai is no
loud; i is a he quie ; i is an immense silence and wi hd awal. He eels almos useless; ails o
su i e in a wo ld ull o meaning and s uc u e. Simul aneously, Sa e's hough s on eedom
and esponsibili y gain impo ance. Sa e a i med ha he e is always he eedom o choice
in esponse, e en unde s ong limi a ions.
The li e o Szpilman is jus a simple ma e o choosing when o hide, whom he can us , o
how o ge ood. Bu wi hin hese ew choices, he a i ms his will o li e. Those choices o su i al
made nume ous imes a e exac ly wha Sa e mean by saying we a e always esponsible o
ou ac ions in any si ua ion. No all he imes when he eels powe less, his mo al eedom is in
his e usal o yield. Camus's no ion o absu di y ills he ilm, oo. He de ined he absu d as he
clash be ween ou longing o meaning and he andomness o li e. Szpilman aces a wo ld
whe e innocen people a e being killed, socie y is collapsing, and su i al is con ingen upon
pu e luck. And ye hey su i e. He does no esume exis ence because o belie in some glo ious
aim; he chooses o be. This choice o con inue wi hou any ep imand, ewa d, o eason is he
concep ion o ebellion by Camus.
As pe he na a i e, Szpilman igh s agains he meaningless si ua ion h ough his s eady
de e mina ion, no h ough big ac ions. Rega ding his app oach, he uses simple pe sis ence o
esis he absu d ci cums ances. We a e seeing ha his su i al becomes only a meaning ul
ac ion in a wo ld ha e uses o gi e meaning. Basically, music wo ks as he ilm's s onges
symbol. The same musical elemen s ca y he mos powe ul meaning h oughou he s o y.
Also, e en a e losing e e y hing, Szpilman ac ually keeps his connec ion o music. Music
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de ini ely emains his mos impo an hing h oughou all his oubles. As pe he s o y's end,
a Ge man o ice inds Szpilman bu his piano playing sa es his li e. Rega ding his momen , i
happens nea he wa 's inal days. Fo him, music is su ely mo e han jus a . Mo eo e , i
ep esen s his memo y, iden i y, and hope o he u u e. This su ely ep esen s genuineness
and his jou ney back o his eal iden i y. Mo eo e , i shows his au hen ic na u e and ue
cha ac e . He su ely does no play music o imp ess o he people; mo eo e , he plays because
music is a basic pa o his na u e. This ac ually shows how people de ini ely li e wi h hones y
when e e y hing a ound hem is con using. I means s aying ue o you sel e en when li e
becomes di icul .
Polanski's di ec ion u he de elops hese hemes h ough s iking isuals i sel . As pe he
ilm's s yle, i shows Szpilman's loneliness h ough long quie scenes and e y ew dialogues.
Rega ding his inne pain, he mo ie uses sad images o des oyed places o make iewe s
unde s and his s uggle. As pe he ilmmake 's choices, iewe s ge d awn in o his emo ional
wo ld ega ding each decision's weigh . As pe he ilm's na a i e, The Pianis is no only a wa
mo ie bu also shows deep hinking ega ding human li e and exis ence. Władysław Szpilman
ac ually changes om a amous pianis wi h a clea place in socie y o a lonely man who
de ini ely loses e e y hing. His s o y shows how wa can ac ually s ip away someone's iden i y
and lea e hem wi h no hing. Basically, e en when acing hopelessness and meaninglessness, he
chooses o con inue he same s uggle. His quie s eng h and silen choices show au hen ic
alues, and his connec ion o music u he demons a es eedom and esilience i sel .
Szpilman's su i al shows how he human spi i can pe sis u he e en in g ea su e ing and
chaos. Li e i sel inds meaning h ough such di icul imes.
Exis en ial Themes in The Pianis
The Pianis , di ec ed by Roman Polanski, is mo e han a mo ie abou wa . I shows us a
s ong s o y abou wha i is o be a pe son when hings a e inc edibly di icul . This mo ie
sha es he eal li e expe ience o Władysław Szpilman, a Jewish pianis who ough o li e
h ough he Holocaus . I looks a big ideas like loneliness, being ee, wo y, seeking pu pose.
These ideas in luence how Szpilman li es his li e. These ideas ma e o exis en ialism, a way o
hinking abou how people na iga e a con using, some imes senseless wo ld. When Szpilman’s
wo ld c umbles, he g ows dis an om people. He loses his amily, his home, hen he loses who
he is.
Thinke s such as Kie kegaa d explo ed eelings o hopelessness, while Sa e belie ed
indi iduals ace li e unsuppo ed, accoun able o wha hey do. Despi e e ible imes, Szpilman
con inues on, no knowing he eason, simply choosing o s ay ali e. A calm esol e e lec s
Albe Camus’s idea abou li e being illogical. Camus belie es exis ence migh no ha e a de ini e
pu pose, bu we should s ill expe ience i . Polanski sha es his expe ience wi h quie momen s,
calm scenes, basic ilming, le ing us sense Szpilman’s isola ion. The mo ie shows people ying
o li e, keeping hei goodness ali e du ing a eally ough ime. I doesn’ ely much on big
d ama ic momen s o igh s, ins ead i cen e s on jus ge ing h ough each day, e aining wha
makes hem human. The mo ie eally shows how people deal wi h li e’s big ques ions, making
i a s ong ilm abou exis ence.
Aliena ion and Isola ion
The Pianis eally shows how alone Szpilman becomes as he wa goes on. He began as a
well- ega ded piano playe , enjoying ime wi h lo ed ones, acquain ances, dwelling in a place
he knew well. When Nazis a ack Poland, li e quickly becomes chao ic. Szpilman lea es his home,
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loses con ac wi h his amily, hen akes e uge in dismal, dese ed loca ions. He loses all
connec ions wi h o he people, o ge s who he is, eels no sense o sel .
Philosophe s who hink abou wha li e means equen ly alk abou eeling disconnec ed.
Jean-Paul Sa e belie ed people eel los because he e’s no god o clea eason o ou
exis ence. We ace he wo ld by ou sel es, so we need o make ou own pu pose. This hough
e lec s wha Szpilman wen h ough. He eels isola ed, no jus in e ms o being by himsel , bu
also in losing ouch wi h his his o y. The loca ions he enjoyed a e now unsa e, hose he us ed
anished. He obse es e e y hing alling apa , unable o do any hing o s op i . Roman Polanski
shows his emo ion h ough imp essi e images. Szpilman equen ly shows up a windows o
glimpsed h ough doo ways, pu ing up a wall sepa a ing him om people ou side. Quie
momen s in se e al pa s o he s o y emphasize a eeling o loneliness. Sø en Kie kegaa d
obse ed ha people eel hopeless when hey s op ecognizing who hey a e, a si ua ion
Szpilman aces. He eels sepa a e, which isn’ jus abou being alone. I e eals he’s los ouch
wi h a wo ld ha eels con using now.
Fea o Dea h and Su i al Ins inc
The mo ie The Pianis shows Szpilman s uggling o s ay ali e. He li es wi h a cons an
d ead o dying, whe he i ’s om he h ea o being sen away, o om shel e ing in eezing
a ics, uined s uc u es. He su i es by dodging ouble, mo ing ca e ully, aking big isks. E en
wi h e e y hing bad happening, he keeps going. The basic u ge o keep li ing, e en when hings
eel hopeless, is a co e idea in exis en ial hinking. Albe Camus, a key hinke abou exis ence,
conside ed he concep o he “absu d.” He belie ed he absu d happens when people sea ch o
pu pose bu li e doesn’ o e i . Szpilman’s s o y shows his well. He li es because o good
o une, help ul people, a bi o luck, no ca e ul scheming o des iny. He li es o no pa icula
eason, o he s don’ . I ’s jus luck in a messy wo ld.
A s iking scene depic s Szpilman mo ing h ough ubble, e y hung y, e y ail, sea ching
o some hing o ea . No big sounds o hea el alks, simply a pe son ocused on su i al.
Camus belie ed ha con inuing o wa d eels like a de iance, e en i li e seems poin less.
Szpilman’s calm, eliable exis ence shows ha s eng h. He doesn’ win wi h igh ing o alking,
he wins by ne e qui ing. He becomes s onge no h ough a speci ic goal, bu by consis en ly
selec ing o li e despi e dange . This shows people who hink abou li e’s big ques ions
app ecia e any a emp o keep going, no ma e how small.
F eedom and Mo al Choice
The mo ie The Pianis p esen s eedom as some hing di e en han simply making
decisions o managing you own li e. Th oughou mos o he mo ie, Szpilman expe iences
losing his house, his ela i es, his wo k, he abili y o a el whe e e he wan s. Bu , hinking
abou wha i means o be ali e, pa icula ly he wo k o Jean-Paul Sa e, shows us ha e en
when hings a e eally bad people s ill ge o decide how hey eac . This shows us he concep
o making good o bad decisions, a key pa o he s o y. Sa e hough people always ha e
op ions. We become who we a e h ough he decisions we make. Szpilman o en aced di icul
decisions, like hiding when he could ha e led, emaining quie ins ead o oicing his hough s,
o placing ai h in someone he didn’ know. These choices build who he is. Some imes choosing
o do absolu ely no hing is a decision, a delibe a e me hod o ge ing h ough hings.
The mo ie shows a clea momen o deciding wha 's igh when a Ge man o ice , Cap ain
Wilm Hosen eld, disco e s Szpilman. Hosen eld does no ha m he man, no does he gi e him o
au ho i ies. He eques s a piano pe o mance ins ead. Szpilman had a choice, he could say no o
ge sca ed, ye he chose o play. This ac ion helps him ge back a piece o who he is, es o ing his
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sel - espec . He expe ienced some hing di icul , ye he c ea es music. He is a pe son, like
e e yone else. Hosen eld decides some hing oo, i seems. Despi e wo king wi h he Nazis, he
decides o be kind ins ead o mean. Sa e belie ed Hosen eld made choices, demons a ing
indi iduals e ain e hics e en wi hin a lawed en i onmen . These expe iences e eal genuine
eedom isn’ ha ing powe o e hings, i ’s li ing hones ly. You igu e ou wha kind o pe son
you a e, e en when hings a e eally ough. The Pianis shows Szpilman, also Hosen eld, ac ing
in ways ha p o e hey a e good people, e en when e e y hing a ound hem a emp s o
des oy goodness.
Music as Meaning and Hope
The Pianis shows music doing mo e han p o iding wo k o Szpilman. I shows who he is,
how he igh s back, his eelings abou he u u e. The mo ie opens wi h Szpilman, a alen ed
pianis , clea ly passiona e abou music. As he igh ing con inues, he expe iences e ible losses.
He loses his amily, his home, his secu i y, ye he s ill clings o music, e en i he only hea s i
inside his head. Looking a hings om a li e iewpoin , his eally ma e s. I you eel li e lacks
pu pose, exis en ialism sugges s you disco e o build you own.
Music gi es Szpilman pu pose, i seems. Music s ays wi h him, e en when he is unable o
pe o m, gi ing him s eng h. This o e s him some hing o li e o , also i connec s him o his
pas li e be o e e e y hing changed. I p o ides s abili y when e e y hing eels chao ic. A eally
s iking momen in he mo ie happens when Szpilman, ail while shel e ing in an emp y
building, ecei es a eques om a Ge man soldie o pe o m on he piano. Szpilman plays wi h
g ea eeling, a e a long pe iod o quie ha dship. This expe ience goes beyond simply s aying
ali e, i ’s abou inding you sel again. His songs show eelings di icul o desc ibe. I links
opponen s, quickly b inging back a eeling o sha ed unde s anding.
Kie kegaa d discussed a “leap o ai h,” i desc ibes us ing in a concep despi e lacking
e idence o assu ance. Szpilman’s music shows his b a e decision o us in some hing. He
shows beau y, a , people a e s ill impo an , e en when hings a e eally bad. He inds peace, a
li le bi o hope, in music. He will play in he conce hall be o e people once mo e, i ’s no simply
a show, i ep esen s winning a pe sonal ba le. He li ed, keeping sa e wha he alued. Music
helped him unde s and his pain, i ga e him a eason o keep going.
Szpilman’s Jou ney: A Human Condi ion in C isis
The Pianis shows how Szpilman li ed h ough he Holocaus , i also eally ge s in o wha
makes us people when we lose e e y hing. He isn' like mos he oes. He a oids ba les, doesn’
ake cha ge, o o e encou aging wo ds. He keeps going, ins ead. S eady e o ans o ms in o
a deep li e expe ience. People, pa icula ly when hinking wi h Camus o Sa e, ind li e is abou
ying o make sense o hings when he wo ld doesn’ seem o ca e. Szpilman shows wha his
di icul y looks like. When he loses e e y hing – his amily, his house, his job, e en he abili y o
speak – he is le wi h only he basic ac o being ali e. He needs a eason o keep li ing, e en
hough hings will likely no ge be e .
Roman Polanski shows his h ough e ec i e ilmmaking choices. He uses quie momen s,
e y li le con e sa ion, s a iona y sho s o Szpilman as he wai s, conceals himsel , o simply
exis s. These calm imes e eal s aying ali e o en means simply holding on, no necessa ily
ac ing b a ely. Sa e belie ed we always ha e choices, e en when hings a e eally bad.
Szpilman’s li le decisions, such as keeping quie , belie ing someone he didn' know, o jus
holding on, showed his powe o ac o himsel , a way o igh ing back. When hings looked
eally bad, he kep going, a simple ac o b a e y. His s o y shows his igh o li e, i also e eals
he pain many people keep hidden. Szpilman’s expe ience shows us ha uly being a pe son
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in ol es mo e han jus success o ge ing no iced. O en, i means choosing o con inue wi h
li e, quie ly, i mly. Wha he wen h ough shows us some hing impo an . People can hold on o
hei hono , ind meaning in li e, e en when hings a e quie , sca y, o lonely.
Hope and he Human Spi i
The Pianis shows a e ible si ua ion, ye i inishes wi h a gen le, hea el eeling o
op imism. The s o y doesn' show Szpilman's su i al as a big win, he e’s no joy, o any
powe ul wo ds abou o e coming ha dship. Ins ead, hings look be e when he s a s playing
he piano again, i 's a small hing, bu i means a lo . Now is he ime o edisco e who you a e,
wha ma e s o you, you pu pose. I demons a es people can disco e hope du ing di icul
pe iods, e en when hings seem bleak. Albe Camus explained ha he disco e ed a las ing
wa m h inside himsel , e en du ing he coldes imes. This hough shows how s ong
Władysław Szpilman eally was. He li es on, no because he belie es in des iny o help om a
highe powe , bu because he eally wan s o con inue. He doesn' jus hope o he bes , he
ac i ely decides o li e h ough challenges. This genuine eeling d i es he s o y’s hea .
The mo ie shows Szpilman equen ly as someone who doesn' ac much, s ays silen ,
emains by himsel . He chose o li e, con inued onwa d, ul ima ely wen back o making music.
This eels like a sub le o m o de iance. He played he piano one las ime, emembe ing people
who died, also showing how s ong people can be. Polanski doesn' ely on emo ion. The scene
speaks wi h quie momen s, using music o con ey eelings. Szpilman’s shaking hands s a o
play music once mo e, showing a i al pa o him su i ed. This hope comes om wi hin, i
doesn’ need hings o wo k ou pe ec ly. I a ises om deep wi hin, a celeb a ion o being ali e.
Szpilman demons a es people can c ea e pu pose, e en du ing imes o o al de as a ion. His
expe ience shows us ha eeling hope ul means deciding o s ay ali e, che ish memo ies, c ea e
some hing new. The Pianis shows us people can keep going, make some hing lo ely, e en when
li e is eally ha d.
Conclusion
The Pianis , a ilm by Roman Polanski, ells a s o y ha goes beyond he Holocaus . I
hough ully conside s wha i ’s like o be a pe son when hings a e eally di icul . The mo ie
doesn' jus illus a e a sad pe iod in his o y, i explo es big ideas abou li e's meaning as he
main cha ac e , Władysław Szpilman, s uggles o su i e. He el cu o , li e seemed poin less,
he s uggled wi h sadness, disco e ed he was ee, ye s ill held on o op imism. Szpilman ough
o li e du ing he e ible e en s o Wo ld Wa II, speci ically he uin o he Wa saw Ghe o. His
s o y, howe e , means mo e han jus hose imes. I explo es big, las ing ideas abou wha i
means o be people. This s udy looks a he wo k o philosophe s, Kie kegaa d, Sa e, Camus,
o explo e how hei ideas help us g asp wha Szpilman expe ienced du ing ha dship, as well as
his abili y o li e h ough i .
Szpilman’s s uggle shows a deep sadness, like he one Kie kegaa d desc ibed. He eels los
ye s ill wan s o go on. Szpilman’s choices demons a e Sa e’s idea o eedom. He makes
mo al decisions, e en while acing ha dship, p o ing people a e ee e en when ci cums ances
limi hem. Camus’ ideas abou li e’s meaninglessness connec wi h Szpilman’s s uggle o li e,
a igh wi h no ob ious pu pose, inish, o hope o some hing good o come o i . Szpilman’s
quie s eng h, his decision o shu ou his eelings, his la e choice o play music again
demons a e hese ideas a e eal. They show how people bounce back om ha dship. The
Pianis doesn’ celeb a e Szpilman’s li e, no does i o e easy eassu ance. I demons a es how
someone main ains hei kindness, e en when acing cons an ha dship. Szpilman li ed h ough
e ible imes, showing he s eng h people ha e deep inside. I wasn' a s o y o b a e y like
ICSSR Sponso ed One Day Na ional Semina on
Li e a u e, Wa and Memo y: Na a i es o T auma and Healing in 20 h and 21s Cen u y English Li e a u e
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you ead abou , bu i uly shows wha i means o be human. His expe ience shows us ha
people disco e pu pose, keep a sense o who hey a e, keep belie ing hings will ge be e ,
e en when imes a e eally ough. Conside ing “The Pianis ” h ough a philosophical lens
bene i s bo h he s udy o English li e a u e, also ilm. I links hough ul ideas wi h how s o ies
un old. I helps us see pas simple s o ies, ace big ques ions abou li e, pain, how people ge
h ough ha d imes.
Wo k Ci ed
P ima y Sou ce
Polanski, Roman, di ec o . The Pianis . Pe o mances by Ad ien B ody and Thomas
K e schmann, Focus Fea u es, 2002.
Seconda y Sou ces
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The Rebel. T ansla ed by An hony Bowe , Vin age In e na ional, 1992.
C owell, S e en. Exis en ialism: A Ve y Sho In oduc ion. Ox o d UP, 2012.
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Hi sch, Joshua. A e image: Film, T auma, and he Holocaus . Temple UP, 2004.
Kie kegaa d, Sø en. Fea and T embling. T ansla ed by Alas ai Hannay, Penguin Classics, 2003.
The Sickness Un o Dea h. T ansla ed by Alas ai Hannay, Penguin Classics, 1989.
Lanzmann, Claude. Shoah. C i e ion Collec ion, 2012.
Mulhall, S ephen. On Film. 3 d ed., Rou ledge, 2016.
Neiman, Susan. Mo al Cla i y: A Guide o G own-Up Idealis s. Ha cou , 2008.
Ri zenho , Ka en A., and Jakub Kazecki, edi o s. Cinemas o C isis: Film and Con empo a y
Eu ope. Columbia UP, 2015.
Sa e, Jean-Paul. Being and No hingness. T ansla ed by Hazel E. Ba nes, Rou ledge, 2003.
Exis en ialism Is a Humanism. T ansla ed by Ca ol Macombe , Yale UP, 2007.
Spiegelman, A . Maus: A Su i o ’s Tale. Pan heon Books, 1986.
Szpilman, Władysław. The Pianis : The Ex ao dina y T ue S o y o One Man’s Su i al in Wa saw,
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Young, James E. The Tex u e o Memo y: Holocaus Memo ials and Meaning. Yale UP, 1993.
