Introduction: What We Know Doesn't MatterPart I: Bystanders' Trauma? 1. Witnesses to Their Own Aggression: The Beater by Ewa and CzesÅaw Petelski (1963) 2. What the Excluded Say: Henryk Grynberg's The Jewish War (1965) and The Victory (1969); PaweÅ ÅoziÅski's Birthplace (1992) 3. "Say I Am Innocent" 4. Jewish Graves as the Polish Unconscious: The Holocaust in Polish Cinema after 2000Part II: Anxiety and Self-Image 5. First Reaction to the Holocaust: "Protest" by Zofia Kossak-Szczucka (1942) 6. Collective Aggression in Holy Week (1946) by Jerzy Andrzejewski 7. How Not to See What Has Just Been Said 8.

The Same Story Whitewashed: Andrzej Wajda's Holy Week (1995)Part III: The Righteous - The Hinge of Self-Fashioning 9. Social Practice 10. The Rescue of Jews as a Polish Self-Portrait: The Samaritans: Heroes of the Holocaust by WÅadysÅaw Bartoszewski and Zofia Lewin (1966) 11. Narrative Patterns 12. Ashamed Jews: The Righteous During the 1968 Antisemitic Movement 13. Unique or Different Models?Part IV: The Antisemite Becomes Righteous 14. Discursive Model 15. Border Street by Aleksander Ford (1949) 16.

60 Years Later: In Darkness by Agnieszka Holland (2011) 17. Is an Alternative Story Possible? Aftermath by WÅadysÅaw Pasikowski (2012)Part V: The Same Once Again - Our Class by Tadeusz SÅobodzianek (2010) 18. After Neighbors by Jan Tomasz Gross: Regress 19. An Unnoticed Part of the Drama 20. Reception.