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Nazi concentration camps in cinema, as well as in other media, tend to be represented as an aberration from the human norm. Watching films about the camps (the mainstay of the Holocaust film), we get the impression that there is a clear division between life in a camp and normal life. The inclusion of walls and barbed wire, marking the boundary between the prisoners’ world and that of free people, as well as between camp and non-camp stages of the characters’ lives confirm this impression. I also regard camps as extraordinary. This extraordinariness has a double meaning. In some aspects Nazi camps deviated qualitatively from ordinary institutions and everyday practices. In others, they were different in a sense of intensifying certain aspects of practices tested in other historical circumstances or even regarded as normal and necessary for society to function, even if unfortunate. I argue that the camp’s approach to work was extraordinary in the second sense.

From Fordism to Post-Fordism: Representation of Work in the Films about Nazi Concentration Camps