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RESUMEN Las implicancias actuales del cine en el desarrollo del conocimiento histórico, su papel decisivo en la difusión de ideas y en la memoria colectiva nos convocan a problematizar los modos en que las películas sobre el pasado son, no sólo una fuente o un producto derivado de la historiografía, sino constructoras ineludibles de lo que las sociedades entienden por pasado y por los eventos que las marcaron profundamente, como el Holocausto. En este trabajo abordaremos el rol del cine en la construcción del conocimiento histórico, en general, y de este evento, en particular. Presentaremos distintas consideraciones sobre el conocimiento histórico, para caracterizar el lugar insoslayable del cine en dicha construcción. Abordaremos los vínculos e influencias entre la cinematografía y la historiografía sobre el Holocausto. Finalmente, reflexionaremos acerca del estado de arte de estas representaciones y su porvenir. ABSTRACT The current implications of film in the development of historical knowledge, its decisive role in the dissemination of ideas and in collective memory, summon us to investigate the ways in which films about the past are not only a source or a product derived from the historiography, but inescapable constructors of what societies understand by the past and by the events that profoundly marked them, such as the Holocaust. In this paper I will address the role of cinema in the construction of historical knowledge, in general, and of this event, in particular. I will present different considerations on the historical knowledge, to characterize the unavoidable place of film in that construction. I will address the links and influences between cinematography and historiography on the Holocaust, and finally I will reflect on the current status-statute of these representations and their future.

Intermarriage between Jews and non-Jews during the Third Reich occupied a dangerously ambiguous position. Although the 1935 Nuremberg Laws declared intermarriage illegal, the Jewish wife or husband was at first exempted from anti-Semitic persecution. After Kristallnacht on 9 November 1938, their situation deteriorated dramatically. However, Nazi family law was applied inconsistently, leaving both spouses in states of uncertainty with regard to their marriages and children. This essay examines the representation of intermarriage in two films: the 2015 Italian film Max and Helene, and Redemption Road, a 2016 two-part German miniseries. With hybrid cinematic styles, narrative trajectories, and characterizations, these films dramatize the traumatic consequences of Nazi racial ideology and practices for two intermarried couples and their children. Spanning the years 1938 through the late 1940s, intermarriage in these films raises challenging questions about survival, reconciliation, and loss and the definition and achievement of legal, ethical, and emotional justice in the aftermath.

Expert report on behalve of the nomination of the Westerbork Film for the UNESCO MoW Register, which took place in October 2017.On request of the UNESCO Commission, the essay explains the international historical context of the Westerbork Film, answering the question "How should the Westerbork film be contextualised in order to be presented to an international audience?"

Expert report on behalve of the nomination of the Westerbork Film for the UNESCO MoW Register, which took place in October 2017. On request of the UNESCO Commission, the essay explains the international historical context of the Westerbork Film, answering the question "How should the Westerbork film be contextualised in order to be presented to an international audience?"

Expert report on behalve of the nomination of the Westerbork Film for the UNESCO MoW Register, which took place in October 2017.On request of the UNESCO Commission, the essay explains the international historical context of the Westerbork Film, answering the question "How should the Westerbork film be contextualised in order to be presented to an international audience?"

Expert report on behalve of the nomination of the Westerbork Film for the UNESCO MoW Register, which took place in October 2017. On request of the UNESCO Commission, the essay explains the international historical context of the Westerbork Film, answering the question "How should the Westerbork film be contextualised in order to be presented to an international audience?"

This essay will analyze the relationship between the cinematic representation of memory and the photographic steadiness of the present, staged in the film The Passenger (Pasażerka, 1963, Andrzej Munk). Moving both from a textual and a contextual point of view, this article will focus on the posthumous film reconstruction made by Munk’s collaborators. Therefore, the aim of this essay is to discuss the relationship between time and death, past and present, but also victim and perpetrator, which all contribute to create an implicit wistful feeling of historical suspension, which creates a «double memory» storytelling., Cinergie – Il Cinema e le altre Arti, No 8 (2015)