Abstract
Contends that the Holocaust films "Jakob der Lügner" (1974) and "Jakob the Liar" (1999) should be seen as two filmic adaptations of Jurek Becker’s novel of the same title, not as a European film and an American remake. Discusses how each film uses camerawork and editing to simulate the novel’s narrator, who is both intra-homodiegetic and extra-homodiegetic. Compares scenes common to the novel, the 1974 film, and the 1999 film and examines the depiction of truth vs. fabrication.