Abstract
This article intends to investigate the controversies and problems surrounding the Holocaust (Shoah) representation, from three essays by Georges Didi-Huberman, Images malgré tout (2003), "Ecorces" (2011) and Sortir du noir (2015). These texts address the “unimaginable” and the “unrepresentable”, philosophical and aesthetic, and refute it by analyzing four photographs captured by members of the Sonderkommando at Auschwitz-Birkenau in August 1944. In comparison with the cinema, from Shoah to Son of Saul, passing through Night and Fog and Kapo, we updated the quarrel of images, more and more current and far from being closed.
keywords:
Georges Didi-Huberman; Shoah; cinema; unimaginable; unrepresentable
