Red Coat Reloaded. «Schindler's List», l'immaginario della Shoah e la cultura pop

[Autom. eng. transl.] Both by virtue of their success as a transnational public and by evaluating the ways in which they entered the public imagination, it is possible to deduce from two films the starting point for a pop cinematic genealogy of the Holocaust. We refer to Schindler's List (1993, S. Spielberg) and La vita è bella (1997, R. Benigni). If Benigni's film, in fact, is to be considered a pop film due to the merit of proposing a discontinuous topos, that of comedy, which although not entirely unpublished, has the merit of modifying the cultural landscape of visual representations on the Shoah8, that of Spielberg is instead often reduced to a single scene, proposed in a persistent way as a symbol of the Holocaust in its entirety: that of the red coat, in fact, that we will analyze here in order to trace its origins and evolutionary developments in its constitutive pop dimension