Didi-Huberman places the four images taken at Auschwitz between two impossibilities. These two impossibilities arise from the unimaginable and unrepresentable nature of the event that occurred at Auschwitz. This unrepresentability is achieved thanks to the actions of the SS aimed at concealing the extermination of the Jews as a state secret. The system of extermination of Jews is described by Didi-Huberman as a machine aimed at destroying Jews and eliminating any chance of representing genocide. This was done by erasing the witnesses of the Jews and the Sonderkommando. The Sonderkommando are slaves of death according to Didi-Huberman, because they are bound by their mission to help exterminate the Jews and eliminate their trace of existence. They are slaves to their imminent death because "Twelve squads followed one another...each was eliminated after a few months, and 'for its initiation, the next squad burned the corpses of its predecessors'" (Didi-Huberman , 4). Thus, the Jews, including the Sonderkommando, knew that they were going to be eliminated as witnesses to the fact since their deaths had been stolen by the machine. The Jew and the Sonderkommando remain slaves to death because the mission of the SS was not to let any witnesses survive. However, the Sonderkommando managed to extract four photos from the hell of Auschwitz which threaten to refute the two impossibilities put forward by Didi-Huberman in his article Four pieces of film snatched from hell. The erasure of witnesses was complemented by "the fear that the testimony itself would be erased, even if it were transmitted externally" (Didi-Huberman, 6). The testimony of the Sonderkommando, according to Didi-Huberman, could be senseless, incomprehensible and unimaginable due to living in the middle of paper...... it can be argued that its hellish nature is captured in the photos. This therefore calls into question the second impossibility, because one could imagine the fire. bodies as it is visually represented in the photos Thus, the four photos taken from Auschwitz challenge to refute the two impossibilities that Didi-Huberman outlines in her article, Four pieces of film snatched from hell. Jean-Luc. “Representation prohibited.” New York: Fordham UP, 27-50. Didi-Huberman, Georges. all: four photographs from Auschwitz Chicago: University of Chicago, 2008. 3-17. Scribd. Internet. December 13, 2013. Didi-Huberman, Georges. “Against everything unimaginable.” Images despite everything: four photographs from Auschwitz. Chicago: University of Chicago, 2008. 18-29. Scribd. Internet. December 13. 2013.