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If, today, the discussion of representation for these works was brought up, Night and Fog by Alain Resnais would fit better to the requirements of a Holocaust representation compared to Steven Speilberg's Schindler's List. Some people say that Night and Fog is too old and some of the events might not have been discovered, but as a documentary, it is very natural, neither exaggerated like other Holocaust movies, nor like happily ending ones, including Schindler's List. In the movie, the concentration camps, with the fingerprints, and some recordings from the World War II, which have nothing to do with discovering events during the Holocaust, are exposed to the viewer...

Jules and Vincent are walking along a corridor, on their way to murder several people; the only light is coming from the ends of the corridor. This could possibly be symbolising the light at the end of the tunnel, often talked about as being what one sees when one dies. Light in this sequence has a biblical effect and alludes to future events in the film. When they enter the flat where the boys are having breakfast, Jules is lit from the back and the top creating a halo effect, giving him an angelic appearance.

The miners are portrayed as an 'ugly mob' in contrast to Billy's gracefulness. In one sequence, scenes of minors attempting to stop scab labour are interlaced with those of Billy practising ballet steps. This collective expression of the miners is defined as negative in opposition to the self-expression of Billy. Indeed the notion of collectivity is depicted as suffocating the individual. Billy is under constant pressure to conform to expected norms by his father, who in turn is subjected to similar pressure of picket lines. At no point in the film does Daldry portray the strike as a potentially liberating experience.

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Ridley Scott’s latest film, The Martian, is being hailed as an exciting new film about the possibilities of man’s future in space. Starring Matt Damon as an astronaut stranded on Mars, The Martian is a film that everyone should see. It serves to remind people, Americans in particular, that we used to look up at the stars and dream of exploration. When America landed on the moon in 1969, it was a moment that united humanity. Abandoning that mission has only left us fragmented.

In The Martian, Matt Damon stars as Mark Watney, part of an exploratory mission to the red planet. Unfortunately, Watney’s crewmembers believe that he has died during a violent storm, and he is left behind. Griggs (2015) notes that significant parts of the film are Watney alone on Mars, a significant challenge for filmmakers, overcome by voiceover and humor. Both director Scott and screenwriter Drew Goddard managed to “tell a compelling story in which their main character spends almost the entire film alone” (3). The challenge in telling such a story makes for a compelling film.

More important, Watney survives because, as Bernstein (2015) notes, he applies his scientific knowledge to his situation. America, as a nation, has lost its faith in science. It was science that took us to the moon, but in a nation where more people believe in Intelligent Design than evolution, it is vital that we relearn the importance of science. “Using our minds to solve problems is how we survive and prosper” (14).

The United States was once a nation that the rest of the world looked up to because we took the best and brightest minds and set them an impossible task: landing on the moon. This event is perhaps the single greatest peaceful moment in human history, a stunning example of what human beings could accomplish through science. The Martian reminds viewers of the possibilities of science and the potential for humanity.


Bernstein, J. (2015, Oct. 5). “The Martian” Isn’t Just a Great Movie. It’s an Important Movie. The Washington Post. Retrieved from
Griggs, B. (2015, Oct. 7). “The Martian’s” Biggest Challenge. CNN. Retrieved from

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