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The publication of Bernhard Schlink's novel The Reader (1995) sparked conversation and controversy about sexuality, female perpetrators and the complexity of guilt regarding the Holocaust. The screen adaptation of the book (Daldry 2008) amplified these discussions on an international scale. Fictional Holocaust films have a history of being met with skepticism or even reject on the one hand and great acclaim on the other hand. As this paper will outline, the focus has often been on maledoi:10.3390/genealogy3040052 fatcat:3sveahlxfjclxema6l36whcbiy