<abstract xmlns="http://www.w3.org/1999/xhtml">

<p><italic>Son of Saul</italic>, the Hungarian director, László Nemes Jeles’s film about Holocaust was released in 2015 with great international success: Grand Prix of the Cannes Film Festival, the Academy Award and Golden Globe for best foreign-language film. In my essay, I approach the film from a variety of perspectives. First, by analysing the visual and aural level of the film I intend to show how – in a very original way – <italic>Son of Saul</italic> is capable of depicting the understandably limited perspective and numb state of mind of the protagonist, a member of the Sonderkommando. In the second section, I compare <italic>Son of Saul</italic> with the Nobel Prize winner novel, <italic>Fatelessness</italic> (1975) by Imre Kertész. I argue that these two works show strong similarity in their storytelling and staging of the Holocaust. Both works miss a looking back in hindsight and the historical perspective, confining their protagonists to the present. Thirdly, I examine the relation between the absurd mission of Saul saving the dead boy and the problem of remembering and commemorating the Holocaust. Finally, I try to map the traces of popular genres in <italic>Son of Saul</italic>. I recon the film applies – on the one hand – the audiovisual techniques of the POV-horror genre while – on the other hand – the media and presentation tactics of first-person-shooter video games. The application of well-known media procedures can thus bring the historical event that can be hardly visualized or verbalized closer to the younger generation. With the Holocaust fading away in the past and the number of survivors and witnesses radically decreasing, this is certainly becoming more and more important.</p>
</abstract>

Son of Saul, the Hungarian director, László Nemes Jeles’s film about Holocaust was released in 2015 with great international success: Grand Prix of the Cannes Film Festival, the Academy Award and Golden Globe for best foreign-language film. In my essay, I approach the film from a variety of perspectives. First, by analysing the visual and aural level of the film I intend to show how – in a very original way – Son of Saul is capable of depicting the understandably limited perspective and numb state of mind of the protagonist, a member of the Sonderkommando. In the second section, I compare Son of Saul with the Nobel Prize winner novel, Fatelessness (1975) by Imre Kertész. I argue that these two works show strong similarity in their storytelling and staging of the Holocaust. Both works miss a looking back in hindsight and the historical perspective, confining their protagonists to the present. Thirdly, I examine the relation between the absurd mission of Saul saving the dead boy and the problem of remembering and commemorating the Holocaust. Finally, I try to map the traces of popular genres in Son of Saul. I recon the film applies – on the one hand – the audiovisual techniques of the POV-horror genre while – on the other hand – the media and presentation tactics of first-person-shooter video games. The application of well-known media procedures can thus bring the historical event that can be hardly visualized or verbalized closer to the younger generation. With the Holocaust fading away in the past and the number of survivors and witnesses radically decreasing, this is certainly becoming more and more important.

In the Captivity of the Present. Approaches to <italic>Son of Saul</italic> by László Nemes Jeles

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

In the Captivity of the Present. Approaches to  by László Nemes Jeles

Son of Saul, the Hungarian director, László Nemes Jeles’s film about Holocaust was released in 2015 with great international success: Grand Prix of the Cannes...

In the Captivity of the Present. Approaches to Son of Saul by László Nemes Jeles

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 101 - 122

DOI: https://doi.org/10.2478/ausfm-2022-0004

Schlüsselwörter
Holocaust, contemporary Hungarian Cinema, László Nemes Jeles, Imre Kertész

© 2022 Miklós Sághy, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

In the Captivity of the Present. Approaches to Son of Saul by László Nemes Jeles

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 101 - 122

DOI: https://doi.org/10.2478/ausfm-2022-0004

SchlüsselwörterHolocaust, contemporary Hungarian Cinema, László Nemes Jeles, Imre Kertész

© 2022 Miklós Sághy, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Schlüsselwörter
Holocaust, contemporary Hungarian Cinema, László Nemes Jeles, Imre Kertész