Abstract
Throughout
Steven Spielberg’s Schindler’s List (1994), motion is used in various ways for
different purposes. At 1:28’00”, a prisoner is taken out of a factory in order
to be executed by Ralph Fiennes. During this relatively short encounter between
the prisoner and Fiennes, questions involving fate enter the viewer’s mind. But
why? All because of motion (or a lack thereof). Spielberg, in this film,
employs motion and/or non-motion to convey complicated and meaningful ideas.
Ultimately, in this essay, I propose to (i) analyze this somber scene in its
production (i.e., why and how did the scene work so well), and (ii) postulate
that, in this specific scene, the ability to move freely is restricted to those
who are not facing certain death.
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