Nazi archival footage realized in the Warsaw Ghetto has become a staple element of postwar documentary films. The early films relied heavily on editing and voice over commentary in order to lay bare the propagandist angle of the generic material. However, with the passage of time filmmakers started to perceive the fruits of German documentary work as problematic. The article analyzes three films: Jerzy Bossak's 'Requiem for 500 000' (1962), Jolanta Dylewska's 'The Chronicle of the Warsaw Ghetto Uprising According to Marek Edelman' (1993) and '912 Days of the Warsaw Ghetto' (2001) trying to pinpoint the ways of undoing the 'evil eye' of the Nazi footage by palimpsest re-editing, individual testimony and recent digital manipulation of found footage. Furthermore, it postulates a quest for an ethics of seeing pertaining to the specificity of the material.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.