Is cinema the best way of informing the younger generations about what took place, or should this perhaps be left, for example, to CD-Roms, videos or archive collections?
What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increasingly younger audiences, inured by the many images of violence conveyed in the media.