This timely monograph contends that Holocaust film scholarship has been marginalized academically despite the crucial role Holocaust film has played in fostering global awareness and scholarly understandings of cinematic power. The book suggests political and economic motivations are responsible, for this seeming paradox, the parameters of which are evident in debates and controversies over Holocaust films themselves and around Holocaust culture in general. Lending particular attention to four films- Entre Nous(1982), Korczak(1990), The Quarrel(1991), and Balagan(2004)-this volume breaks disciplinary ground by drawing critical connections between public and scholarly debates over Holocaust representation and the sophisticated cinematic structures lending them aesthetic shape in today's global arena.