ABSTRACT Yael Hersonski’s Holocaust documentary A Film Unfinished has been read as an exercise in empathic unsettlement that destabilizes the propagandistic intentions of a Nazi gaze that produced footage of the Warsaw Ghetto. However, this paper argues that Hersonski also shows that a practical gaze that incorporates the gazes of those both inside and outside of the footage can more effectively reveal the contours of regime-made atrocity while humanizing victims of the Holocaust as agents involved in the construction of the footage’s meaning.

中文翻译：

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对华沙犹太人区的实际凝视：揭示未完成的电影中的过剩和缺乏

摘要 Yael Hersonski 的大屠杀纪录片 A Film Unfinished 被解读为一种移情不安的练习，它破坏了制作华沙犹太人区镜头的纳粹凝视的宣传意图。然而，本文认为 Hersonski 还表明，将镜头内外的人的凝视结合起来的实用凝视可以更有效地揭示政权制造的暴行的轮廓，同时将大屠杀的受害者人性化为参与构建的代理人影片的意义。