The witness obliteration was complimented by "the fear that the testimony itself would be obliterated, even if it were transmitted to the outside"( Didi-Huberman, 6). The Sonderkommando's testimony according to Didi-Huberman, could be senseless, incomprehensible and unimaginable from living in the ...
... middle of paper ...
...ts hellish nature can be argued to be captured in the photos. This challenges the second impossibility then, as one could imagine the burning of the bodies as it is visually represented in the photos. Thus, the four photos snatched from Auschwitz challenges to refute the two impossibilities that Didi-Huberman outlines in his article, Four Pieces of Film Snatched From Hell.
Nancy, Jean-Luc. "Forbidden Representation." The Ground of the Image. New York: Fordham UP, 2005. 27-50. Print.
Didi-Huberman, Georges. "Four Pieces of Film Snatched From Hell." Images in Spite of All: Four Photographs from Auschwitz. Chicago: University of Chicago, 2008. 3-17. Scribd. Web. 13 Dec. 2013.
Didi-Huberman, Georges. "Against All Unimaginable." Images in Spite of All: Four Photographs from Auschwitz. Chicago: University of Chicago, 2008. 18-29. Scribd. Web. 13 Dec. 2013.
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