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Korczak (Poland, 1990) is the better known of two extant cinematic attempts to trace the life and legacy of renowned Polish-Jewish teacher, pediatrician, and children’s rights advocate Janusz Korczak. Born Henryk Goldszmit, he perished in the gas chambers of Treblinka after a 1942 deportation there from the Warsaw Ghetto with two hundred orphans in his charge.1 Korczak, directed by Andrzej Wajda, is a layered film with manifold significance. At the level of story, it is a film about pedagogy , especially as it may be practiced with regard to the Holocaust. It is likewise concerned with defining the Judeocide for its non-Jewish Polish spectators. Further, as an international co-production marketed as both an art film and a popular melodrama and released in the current of the Soviet bloc dismantlement, Korczak is imbricated with, and to a certain extent symptomatizes , political and ideological conflicts cleaving Polish and Western European self-understandings at a watershed moment in global history.2 Such conflicts include the end of the Cold War, the ascendance and suppression of Solidarity (Solidarność), and the re-envisioning of Auschwitz as a multinational Holocaust memorial. At the aesthetic theoretical register , Korczak has come to represent an international controversy staged primarily in the French popular press and argued vociferously by film maker Claude Lanzmann and journalist Danièle Heymann, the crux of which was the film’s apparent kitschification of an event in Holocaust history  St. Korczak of Warsaw terri ginsberg CH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:GCH7:G<  Marx, Karl. Grundrisse. Trans. 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