Schindler’s List focuses on the personal journey of Oskar Schindler and how his attitude towards Jews (and life in general) shift throughout the war. Perhaps the three main themes of the film were hate, identity, and community. Schindler’s initial attitude towards the Jews was one of hate through indifference: he allowed himself to hate an entire group of people enough to not stand up against the horrendous conditions they were living (and dying) in. His identity shifts greatly throughout the plot, going from an ambitious, cutthroat businessman to a compassionate savior of people. Finally, the sense of community within the Jewish population is a strong force that eventually ends in many of their lives being saved. Shoah pursues a different path in the way it’s themes are revealed, one that fits the realistic atmosphere of the film. The most pervasive theme of Shoah, the one that gives the film its distinct personality, is its staggering sense of confusion and disbelief in the midst of the Holocaust. Many survivors are in awe of what happened when the reflect on it, with more than a few remarking that “[they] still can’t believe it.” Often, interview subjects will be rendered speechless in their account of events that they witnessed firsthand. Likewise, most bystanders expressed feelings of disorientation when they heard about the atrocities that were occurring; either they didn’t …show more content…
Schindler’s List, while taking many of its concepts from generic Hollywood films, strays from the beaten path by its use of predominantly handheld cameras, as opposed to stabilized camera rigs that most audiences are used to. This use of handheld cameras lends the film an amateurish edge that adds an essence of potency and weight to the story. It also aids in placing the viewer in the shoes of the subjects, making them feel like they are in the room where the events of the film are taking place. Shoah also uses shaky, handheld shots, but the film treats the camera in a different way. Shoah employs the use of long, movement heavy shots that are self-reflexive of the production and the crew that are working on the project. The camera is treated as a character, another variable in the story that Lanzmann tells. A perfect example of this is when the camera enters the camps during flashbacks. The camera moves and bobs around as if it were a real human being, often showing emotion through what it chooses to show and, more importantly, what not to show. This element of the camera having a personality adds another layer of depth to the documentary that enhances the immersion that the viewer