U S Er G U I D E I Nsi De T H E Nazi Stat E

INSIDE THE NAZI STATE

EDUCATOR’S EDITION

U S E R G U I D E C O N T E N T S 4. Introduction 4. Unique features of the series

6. A Scholar’s Perspective As the generation that by Robert Jan van Pelt 11. Getting started directly experienced the 11. Target audience Holocaust gets smaller and 11. Curriculum planning 12. Computer specifications the world becomes more 12. Installation instructions 12. Connecting your computer to an lcd complex and interconnected, 13. Finding what you want it becomes particularly 14. DVD interface 16. By episode critical to examine the 17. Index of video segments historical record and what it 18. By essential question 19. By unit tells us about power, politics, 20. By resource personal responsibility, 21. Printing from the disk violence, racism, prejudice, 22. Frequently asked questions 23. For further information and diversity.

25. Funders )

2 INTRODUCTION of meetings, testimony from people who were in the meetings, and memoirs from such individuals as camp commandant 27 1945 7,600 On January , , the Red Army liberated the survivors Rudolf Höss). All dramatizations were extensively reviewed by remaining at Auschwitz. Of the more than one million people project scholars for their accuracy. They were filmed in German who had been sent there in the previous four years, most had and have English captioning. been killed. At the time of the liberation, little was known about the COMPUTER RECONSTRUCTIONS site or about people’s experiences there. Since the fall of Com- 1990 munism in the former Soviet Union, significant primary sources During the s the entire set of building plans relating to have become available to scholars that reveal a detailed four-year Auschwitz at all of its various stages was uncovered in Russian 3-d history of this Nazi institution. Auschwitz: Inside the Nazi State, a archives, enabling the series to use sophisticated technology six-hour public television series that premiered in January 2005 to to create a visual representation of the very places the Nazis never commemorate the 60th anniversary of the liberation of the camp, wanted anybody to see. is the result of a three-year collaboration between the British VICTIMS AND PERPETRATORS Broadcasting Corporation and KCET/Hollywood to bring this In addition to interviews with survivors, the series contains story to audiences nationwide. extraordinary interviews with Nazi perpetrators. Now in their The Educator’s EditionDVD , developed by KCET/Hollywood, eighties, these testimonies provide insight into these people’s takes the documentary series one step further by selecting brief worldviews, motivations, and belief systems. segments (1–11 minutes) from the original six hours that correlate SCHOLAR INTERVIEWS particularly well with secondary and postsecondary curricula and courses. This multimedia teaching tool supports both short- and The closing segment of each episode is hosted by journalist Linda long-term study by amassing a series of related teaching resources Ellerbee and features interviews with American scholars and stu- for each video segment—250 resources in all, including discussion dents who discuss the major issues of each program from their ideas, maps & charts, photographs, background readings, primary unique points of view and provide insight into how different people sources, and literature—and presenting these resources in a DVD- ) can examine the same situations and come to diverse conclusions. ROM format that is ideal for both personal study and classroom BBC All of these unique approaches are seen in the selected video segments (© presentations using an LCD projector. on the DVD-ROM 1944 .

UNIQUE FEATURES OF THE SERIES

DRAMATIZATIONS

The series includes dramatizations of key decision-making moments that visualize important transitions in policy. The dramatizations are based on primary source documents (minutes Hungarian prisoners at Auschwitz,

4 5 A SCHOLAR’S PERSPECTIVE key decisions concerning the purpose of the camp and the direction of the Holocaust, and a few stunning interviews with BY ROBERT JAN VAN PELT surviving SS personnel to show the twisted worldview that allowed these men and women to participate in the killing machine with good conscience. CAUTIONS CONSIDERED

The prospect of my involvement was both attractive and daunt- ing. It attracted me because I very much admired Rees’s earlier work. I consider his The Nazis: A Warning from History, to be the very best documentary series on the history of Nazism and the Second World War ever made. But I was also uneasy. Would the attempt to represent in the relative populist medium of television 2003 bbc In early the well-known filmmaker Laurence Rees the very complex and at times seemingly contradictory history invited me to join an ambitious project to produce a six-part of Auschwitz lead to oversimplification? In books and articles it documentary on Auschwitz and the Holocaust. Rees wanted to is possible to include a “but yet” or “even so” to signal a scholar’s create a series that would both examine Auschwitz as a particular caution. Television has little place for such side notes. place with a unique history shaped by specific circumstances, My concerns came from 15 years of study about Auschwitz. and connect Auschwitz to the larger genocide of more than Since the late 1980s I had researched, with my colleague Debórah 11 million people all over Europe. This larger Holocaust went far Dwork, the camp’s history. The opening of archives in eastern beyond Auschwitz and involved many more killing technologies Europe had provided much new evidence, especially about the than gas chambers and crematoria. Rees wanted to examine, for incremental physical development of the camp and its parts— example, the killings of Jews by Einsatzgruppen (mobile killing a development that in two years allowed an “ordinary” concen- squads) in occupied Russia as well as to show the involvement of tration camp built to imprison Polish resistors (1940) to evolve non-German officials with the deportations from Western Europe. into a slave-labor camp for Soviet prisoners of war (1941), and In other words, he wanted to both intensely focus on the from there into an extermination camp for Jews (1942). Studying singularity of Auschwitz and, at the same time, use the camp as the history of the construction of the camp within the context a prism to consider the Holocaust in general. of other German construction in the East also generated new A UNIQUE APPROACH insight in the important link between the Holocaust and the German crusade against communism and the simultaneous Among the unique features Rees planned to use in the series were project to rebuild eastern Europe as a German agrarian utopia. ambitious computer-generated reconstructions of the camp, We found that in the case of Auschwitz and in the case of the war dramatic reenactments of meetings in which the Germans made in the East destruction and construction went hand in hand.

6 7 E D U C AT I O N A L VA L U E

“My confrontation with Holocaust Talking to teachers about the use of the series as a way to teach deniers, who twisted every aspect not only the history of the Holocaust, but also to explore its lessons for our understanding about responsibility in a multi- of the camp’s horrible history to ﬁnd cultural society, I realized that the long-term eﬀect of the series evidence to support their delusions, was to be even greater than we had assumed when we worked so DVD had made me weary about any attempt hard to get everything “right.” The -ROM includes not only video segments from the series, and background material such as to brush over the obvious problems primary sources, maps, and photographs, but also sample discus- in the historiography of the camp.” sion questions, to ensure that, indeed, this huge achievement will continue to have an impact on students’ lives.

SIGNING ON Dr. Robert Jan van Pelt is one of the world’s leading experts on Auschwitz and was a Senior Consultant on Auschwitz: Inside the Rees quickly proved that he was fully committed to represent Nazi State, working both to ensure the accuracy of the series content the paradoxical aspects of the camp’s history that Dwork and I and to help introduce the series to teachers. He co-authored, with Dr. 1270 1996 had documented. And so I accepted Rees’s offer to join Sir Ian Debórah Dwork, Auschwitz: to the Present ( ), which Kershaw, David Cesarani, and Christopher Browning, all very established his reputation as an expert on the history of the largest and prominent historians of Nazi Germany and the Holocaust as a most lethal of German death camps. Senior Consultant to the series. Thus began an eighteen-month In addition, he served as an “expert witness” on the historical record of Auschwitz in the notorious 2000 London trial in which collaboration, in which, at times, I had to respond to two or three David Irving accused Holocaust scholar Deborah Lipstadt of libel for queries per day, and watch different versions of reconstructions calling him a Holocaust denier in one of her books. Irving claimed of the crematoria or dramatic sequences for hours and hours, there was no proof homicidal gas chambers had been at Auschwitz, sending them back with comments like: “Close, but not close and hence that there had been no Holocaust at all. Van Pelt proved enough, and so here some suggestions for improvement…” to the satisfaction of the court that there was overwhelming evidence —undoubtedly driving the members of Rees’s team to occasional that not only had homicidal gas chambers been in operation between despair. But in the end the series that resulted not only proved late 1941 and late 1944, but that in combination with large incin- to be a magnificent example of film-making, a fascinating crime- erators these gas chambers had enabled the Nazis to kill more than a story equal to the best of the genre, but also a historically precise million human beings. Van Pelt’s experiences in this trial have been and judicious representation of a most difficult past. Critics chronicled in The Case for Auschwitz 2002( ). agreed when it premiered in January 2005 to commemorate the Dr. van Pelt holds the rank of University Professor and teaches at 60th anniversary of the liberation of Auschwitz. the School of Architecture of the University of Waterloo in Canada.

8 9 GETTING STARTED

ThisDVD-ROM is designed to run on Windows® and Macintosh® computers and requires no special plug-ins to view video segments, photos, maps and charts. To print documents available on the DVD- ROM, your computer must have the capability to open Adobe “PDF” ﬁles. See “Installation Instructions” for more information. To start the program on Windows® PCs, simply insert the disc into your computer’s DVD-ROM drive and the program will begin to play automatically, usually within 10-15 seconds after inserting the disc. Macintosh® users may launch the program manually by double-clicking the “Auschwitz” icon located at the top level of the “Auschwitz” DVD disc. To switch to another program while you are viewing the DVD, press and hold the ‘Alt’ key on your keyboard to display a list of available options, then press the ‘Tab’ key to make your selection (Alt-Tab). In the event that you are running only the Educator’s Edition DVD, then press the ‘Quit’ button to exit the program and return to the Windows® desktop.

TARGET AUDIENCE

TheAuschwitz: Inside the Nazi State Educator’s Edition is designed primarily to teach high school and college students in social studies, humanities, Holocaust studies, contemporary issues, and 20th-century history courses. Middle school teachers will also ﬁnd selected resources appropriate as well.

CURRICULUM PLANNING

Among the ways you might use this DVD-ROM are the following: Chronological History Present a chronological history of Auschwitz by showing the video segments in order (Episodes). Omit the Linda Ellerbee interview segments. Understanding Auschwitz Today Concentrate on the implications of the Holocaust for contemporary society by showing and discussing the Linda Ellerbee interview segment from each episode (See Essential Question: “What lessons can be learned from the Holocaust?” for a complete listing). Video and Related Resources Devote a class period to a speciﬁc video segment and its related resources to stimulate discussion on a chosen topic that meets the needs of your curriculum or local frameworks.

11 Background Readings INSTALLATION INSTRUCTIONS Assign background readings for context prior to showing the videos To print related teaching documents, photos, maps and charts available on or use them to prepare your own classroom presentation. the DVD-ROM your computer must have the capability to open and print Primary Sources Adobe “PDF” ﬁles. Many computers already have this functionality Give students access to authentic primary sources to analyze. built-in, but if yours does not, then you may install the free software by Literature double-clicking the “Install Adobe Reader” icon located at the top level of the “Auschwitz” DVD disc. Select works of literature and poetry to make your history lessons more interdisciplinary. CONNECTING YOUR COMPUTER TO AN LCD Maps, Charts and Photographs Any computer with a separate CPU (the computer) and monitor can Use maps, charts, and photographs to illustrate presentations. usually support an LCD projector because they already have a port to Independent Research plug the monitor into (this is where you’ll plug the projector in). The Give students access to the disc for independent research. “all-in-one” computers (monitor and CPU in one box) may not support Units an LCD projector unless it includes a separate external monitor port. Select and use a two-week unit. Each unit includes related standards To connect to an LCD projector: from the National Council of Social Studies and the National Council Read the instructions that came with the LCD projector. of Teachers of English. LCD Essential Questions Plug the monitor cable from the input port on the projector into the monitor port in the CPU. Pose an Essential Question to the class. After providing access to its related resources, assign a paper in which students present their own If you are using external speakers, then make sure that they are plugged answers to the question. into the audio port of your computer. LCD Discussion Ideas Turn on the projector. Use the Discussion Ideas as student writing assignments. Turn on or restart the computer. This will allow the computer to sense the device if it needs to. COMPUTER SPECIFICATIONS LCD projectors usually include a “sleep” or “power” button that will turn Minimum system requirements for PC users: on the lamp. Once it’s on, use the menu buttons on the projector to Intel Pentium III 866 mhz processor or higher select the input settings so that you can see the desktop being projected. Windows 2000 or Windows XP 256 MB RAM minimum, 512 mb ram recommended 800x600, 16-bit (thousands of colors) color display or better DVD-ROM drive PCI sound card and speakers Printer recommended FINDING WHAT YOU WANT Minimum system requirements for Mac users: Mac OS 10.3 There are four main ways you can locate speciﬁc information on the iMac or G4 867 mhz or faster processor Auschwitz: Inside the Nazi State Educator’s Edition: 256 mb ram minimum, 512 mb ram recommended By Episode 800x600, 16-bit (thousands of colors) color display or better DVD-ROM drive By Essential Question Sound card and speakers By Unit Printer recommended By Resource

12 13 FINDING WHAT YOU WANT: DVD INTERFACE

SECTION FULL SCREEN MODE OVERVIEW

SUB-SECTION

CLIP/IMAGE/ TITLE

DISCUSSION IDEAS Each video segment includes discussion ideas. These can be VIDEO viewed on-screen PREVIEW or printed out in the “Resources” section of the disc (Reference Tools). Adobe Reader required.

PRINT RESOURCES Includes NAVIGATE primary sources, SECTIONS/ background SUB-SECTIONS readings, literature and lesson plans SELECT VIDEO (Units). Requires Position cursor Adobe Reader. over video thumbnails to display detail, click to view RELATED PHOTOGRAPHS, MAPS & CHARTS VIDEO DETAIL video in the video Unique to each video. These can be viewed on-screen or Browse video titles, duration preview area. printed out in the “Resources” section of the disc. before viewing. Adobe Reader required.

14 15 B Y E P I S O D E INDEX OF VIDEO SEGMENTS

TheAuschwitz: Inside the Nazi State Educator’s Edition contains Surprising Beginnings (March 1940–September 1941) 27 1. video segments selected from the original six-episode documentary 1940 (2:55) television series. The series told the story of Auschwitz from its start In the Beginning: (1:01) to its liberation, following its evolution chronologically. Location: Oswiecim, Poland Hans Friedrich’s Worldview (2:48) These video segments have been selected speciﬁcally for their correlation Adult Euthanasia Program (2:38) to Holocaust curricula in secondary and postsecondary sources. (5:38) The videos range in length from just under one minute to slightly Technology of Annihilation (7:24) over 11 minutes so that one or more of them can easily be shown in a What Lessons Can Be Learned from the Holocaust? single class session with adequate time for discussion. 2. Orders & Initiatives (September 1941–March 1942) Episodes Video segments can be accessed by clicking . Birkenau: Fall 1941 (3:15) Once you have selected an episode, the segments associated with it will appear The Lódz Ghetto: Fall 1941 (5:08) as thumbnail images along the bottom of the episode’s overview screen. Slovakia: Spring 1942 (6:37) (6:43) Selecting a particular video segment will in turn lead you to the video screen. How Does Genocide Happen? Each video segment includes: 3. Factories of Death (March 1942–March 1943) 1 Video Description France: 1942 (9:11) (1:04) 2 Transcript (available in Resources/Reference Tools) Oskar Gröning’s Worldview (4:41) 3 Related Videos, Maps & Charts, and Photographs Albert Battel: Rescuer How Can Individuals Make a Diﬀerence? (5:59) 4 Discussion Ideas Corruption (April 1943–March 1944) 5 Print Resources 4. Dr. Josef Mengele: 1943 (5:20) Sobibor: Prisoners Revolt (4:35) (5:05) 1 Denmark: A Nation Resists How Do We Know What We Know? (7:33) 5. Murder & Intrigue (March 1944–December 1944) Birkenau: 1944 (3:36) The Sonderkommando (6:17) Gypsies: Another Population Targeted (3:48) What Does the Future Hold? (Part I) (5:39) 4 6. Liberation & Revenge (January 1945 and on) 5 Adolf Hitler and Rudolf Höss: After the War (2:29) 2 Rudolf Höss’s Memoirs (2:59) Oskar Gröning: After the War (4:52) 3 The Jewish Brigade (2:50) What Does the Future Hold? (Part II) (10:38)

16 17 BY ESSENTIAL QUESTIONS B Y U N I T

All resources on the disc have been organized under one or more TheAuschwitz: Inside the Nazi State Educator’s Edition contains of the following Essential Questions: four complete teaching units, each designed to be completed in approximately four class periods. The units are: 1. How do people learn to hate? The Nazi Worldview 2. How did Auschwitz evolve? The Evolution of Auschwitz 3. How did various countries respond to Nazi aggression? National Responses to Nazi Aggression 4. How do we know what we know? Judgment and Responsibility 5. How did individuals respond to the Holocaust? 6. What populations other than the Jews did the Each unit contains two to four lessons, an overview, teaching strategies, and related disc resources: Nazis target? 1 Overview 7. What lessons can be learned from the Holocaust? 2 Learning Objectives 8. Was justice done? 3 Assessment Activities Essential Questions are meant to encourage constructivist learning. 4 Correlated National Standards (ncss and ncte) Students have a wide range and types of resources to choose from that can help them create their own understanding of the question and 5 Lessons its potential answers. Which resources are selected and the order in which they are used is left to the user.

1 2 3 4

Each lesson is supported by related visual and print resources.

18 19 BY RESOURCE PRINTING FROM THE DISC All 250 resources on the disk appear alphabetically in the DVD Resource Index, which also denotes the type of resource it is. Auschwitz: Inside the Nazi State Educators’ Edition provides the ability For your convenience, you can sort the index by: to print handouts of most resources available on the disc. These include: Video Segments 27 Photographs Photographs 122 Maps & Charts Maps and Charts 25 Background Readings Literature Background Readings 28 Primary Sources Primary Sources 19 Video Transcripts Literature 14 Reference Tools Reference Tools* 15 Discussion Ideas *Includes: Bibliography, Biographies, Discussion Ideas, Glossary, Related Websites, Units/Lessons Timeline and Unit documents. These documents are saved in the AdobePDF format. Look for the View PDF icons while browsing Print Resources or Resources on the DVD-ROM. Clicking a View PDF icon will open the selected file in another program —usually the Adobe Reader program—but occasionally your web browser (or other program) may be configured to display PDF documents. When the PDF document is open, simply print in the same manner as you would any other file by clicking the program’s File menu and selecting the Print option. If you do not have the Adobe Reader software installed on your computer, you may install it by double-clicking the “Install Adobe Reader” icon at the top-level of the “Auschwitz” DVD disc.

20 21 FREQUENTLY ASKED QUESTIONS preview area. Click the “View PDF” button of an individual resource to open it in Adobe Reader. Q: I inserted the DVD-ROM into my computer, but it did not play. Q: How do I print out photos, maps & charts? How do I start the DVD-ROM? Photos, maps & charts, transcripts and most reference tools can only be First, check to make sure that the computer you are using is equipped with accessed from within the “Resources Index.” Click “View PDF” to open the a DVD-ROM drive, and that the disc itself is not damaged. If you are on a document in Adobe Reader. Windows PC and the disc fails to auto-start, then open the “My Computer” window, and double-click the DVD icon labeled “Auschwitz.” The DVD is Q: “Essential Questions” share the same videos as “Episodes.” not designed to auto-start on Macintosh computers and must be launched Why? manually from the desktop. Both ‘Essential Questions’ and ‘Episodes’ include the same videos and related resources. The difference is that in ‘Essential Questions’ content is Q: Why won’t the DVD play in a standard DVD player? organized by key themes such as “What lessons can be learned from the The Auschwitz Educator’s Edition DVD is actually an interactive com- Holocaust?” whereas in ‘Episodes,’ content is organized in the order that puter application and is designed to work on both Windows and Macintosh each segment appeared in the original documentary series. computers. The DVD-ROM format allows for more interactivity and content then is currently possible with a standard DVD video disc. Q: I would like to teach a complete unit to my class. Where should I begin? Q: I am trying to view a clip, but the video appears choppy and/or The Auschwitz: Inside the Nazi State Educator’s Edition DVD contains four the audio is out of sync. Why? comprehensive teaching units. Each unit is designed to be completed in Make sure that the computer you are using meets the minimum system approximately four class periods. Units can be taught in any order and requirements. Try quitting all other applications to maximize memory include 2-4 lessons each (correlated to national standards), teaching allocated to the DVD. Adjust the display settings of your monitor from strategies, and related resources, plus an overview, learning objectives and “Highest (32 bit)” [Millions of Colors] to “Medium (16 bit)” [Thousands assessment activities. of Colors]. Q: Where can I learn more about the documentary series? Is it Q: How do I adjust the audio levels? available for purchase? This DVD-ROM is designed to use the audio controls built into your For more information about the series, Auschwitz: Inside the Nazi State, computer. To achieve higher audio levels, please use in conjunction with visit PBS.org/auschwitz. The 2-DVD set is available from ShopPBS at external speakers. www.shoppbs.org (product id: 1915639). Q: How do I switch to other programs without quitting the DVD Q: Who do I contact for technical support on DVD-ROMs? (Windows)? Technical support can be reached by phone at 888-744-6398 or email at To switch to other (active) programs while you are viewing the DVD, press techsupport@ﬁlms.com and hold the ‘Alt’ key on your keyboard to display a list of available programs, then press the ‘Tab’ key to make your selection (Alt-Tab). In the event that you are running only the Educator’s Edition DVD, then icons FOR FURTHER INFORMATION may not appear. Press the ‘Quit’ button to exit the program and return to the Windows desktop. Questions about the Auschwitz: Inside the Nazi State Educator’s Edition dvd should be directed to: Q: How can I browse and print related documents while viewing video segments? Films for the Humanities & Sciences, PO Box 2053, Princeton, NJ 08543 To view and print related documents while previewing individual video Visit our website at www.ﬁlmsmediagroup.com segments, click the “Print Resources” button on the right side of the For information on other programs, please call screen. A scrollable list of printable resources will replace the video (800)257-5126 or (609)671-1000

22 23 FUNDERS Educator’s Edition DVD:

Major funding provided by Corporation for Public Broadcasting The Skirball Foundation Lloyd E. Rigler - Lawrence E. Deutsch Foundation With additional support from Shapell Industries, Inc. The Series:

Major funding provided by British Broadcasting Corporation Corporation for Public Broadcasting Public Broadcasting Service With additional support from Peter and Helen Bing The Arthur Vining Davis Foundations Wasserman Foundation

CREDITS

Produced by ) KCET / Hollywood BBC

1942 Toby Levine Communications, Inc. Design and Programming Schematic Special Thanks Robert Jan van Pelt Debórah Dwork Film, Picture and Document Archives British Broadcasting Corporation United States Holocaust Memorial Museum Yad Vashem Frankfurt Jewish Museum Photo (right): Annette and Michael Muller Annette with their mother in Photo (right): Photos ©bbc 25 NOTES NOTES

26 27 Auschwitz: Inside the Nazi State Educator’s Edition MAJOR FUNDING BY A PRODUCTION OF DISTRIBUTED BY