In one of the opening sequences of Rony Brauman and Eyal Sivan's film, The Specialist (1999), cut from original documentary footage from his 1961 trial in Jerusalem, Adolf Eichmann can be seen diligently cleaning his glasses. Finished, he brings them to his nose and then pauses; he has forgotten that he is already wearing a pair. If Eichmann cannot see out of his booth for multiple planes of glass, neither can the viewer get a clear look at him. Throughout the film, reflected back at us from the glass are the faces of the trial's audience in Jerusalem, many of them survivors, living ghosts in a glass pane. In another scene the documentary, Nazi Concentration Camps, first shown at Nuremberg, is played to a darkened courtroom. As Eichmann blinks into the mid-distance, looking but not seeing, the black-and-white images in the film are cast back on to the glass of his booth: a grey face among white corpses.