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PROPAGANDA FILMS DURING the THIRD REICH by ASHLEY
PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK (Under the Direction of Christine Haase) ABSTRACT Films produced during the Third Reich generally fall into two categories: blatant propaganda films, which this paper terms hard-core propaganda films, or subtler, soft- core propaganda films. The first category frequently features vilification of Jews, as well as glorification of the German Volk, Heimat and of Hitler. Third Reich hard-core propaganda films portray Aryan Germans in opposition to other races, resulting in the extreme exclusion of the Other. The soft-core propaganda films are a toned down version of the hard-core propaganda films. This thesis proposes an inverse relationship between the level of inherent inconsistencies and contradictions within Third Reich films and the categorization of a film as hard-core propaganda. The greater the inconsistencies in relation to Nazi ideology, the more a film becomes soft-core propaganda and vice versa. A variety of hard and soft-core propaganda films are analyzed, and the overall effectiveness of such propaganda is examined. INDEX WORDS: Third Reich, Propaganda Ministry, Nazi film, Nazi cinema, Goebbels, Riefenstahl, Hitler, Nazi propaganda, Fascism, Fascist aesthetics, Nazi popular film, Triumph des Willens, Jud Süß, Der ewige Jude, Zu neuen Ufern, Die große Liebe, Die goldene Stadt PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK B.A., The University of Georgia, 2004 B.B.A., The University of Georgia, 2004 A thesis Submitted to the Graduate Faculty of The University -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Anti-Semitic Propaganda and the Christian Church in Hitler's Germany
Advances in Historical Studies, 2018, 7, 1-14 http://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 Anti-Semitic Propaganda and the Christian Church in Hitler’s Germany: A Case of Schrödinger’s Cat Angelo Nicolaides School of Business Leadership, University of South Africa, Midrand, South Africa How to cite this paper: Nicolaides, A. Abstract (2018). Anti-Semitic Propaganda and the Christian Church in Hitler’s Germany: A In his epic Mein Kampf, Adolf Hitler made a point of disparaging the intelli- Case of Schrödinger’s Cat. Advances in gentsia. He asserted that propaganda was the most effective tool to use in po- Historical Studies, 7, 1-14. litical campaigns since especially the popular masses generally possessed li- https://doi.org/10.4236/ahs.2018.71001 mited astuteness and were generally devoid of intellect. This article examines Received: December 5, 2017 the part played by Nazi propaganda in bolstering the National Socialist cause Accepted: March 13, 2018 and how it netted the German youth. Nazi indoctrination nurtured racial ha- Published: March 16, 2018 tred and resulted in especially vitriolic anti-Semitism. The policy of Gleich- schaltung (coordination) brought state governments, professional bodies, Copyright © 2018 by author and Scientific Research Publishing Inc. German political parties and a range of cultural bodies under the Nazi um- This work is licensed under the Creative brella, thus education, legal systems and the entire economy became “cap- Commons Attribution International tured” entities. Germany became dominated by the effective propaganda ma- License (CC BY 4.0). chine via which virtually all aspects of life was dictated. -
German Videos - (Last Update December 5, 2019) Use the Find Function to Search This List
German Videos - (last update December 5, 2019) Use the Find function to search this list Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness.LLC Library CALL NO. GR 009 Aimée and Jaguar DVD CALL NO. GR 132 Ali: Fear Eats the Soul Director: Rainer Werner Fassbinder. with Brigitte Mira, El Edi Ben Salem. 1974, 94 minutes, German with English subtitles. A widowed German cleaning lady in her 60s, over the objections of her friends and family, marries an Arab mechanic half her age in this engrossing drama. LLC Library CALL NO. GR 077 All Quiet on the Western Front DVD CALL NO. GR 134 A/B Alles Gute (chapters 1 – 4) CALL NO. GR 034-1 Alles Gute (chapters 13 – 16) CALL NO. GR 034-4 Alles Gute (chapters 17 – 20) CALL NO. GR 034-5 Alles Gute (chapters 21 – 24) CALL NO. GR 034-6 Alles Gute (chapters 25 – 26) CALL NO. GR 034-7 Alles Gute (chapters 9 – 12) CALL NO. GR 034-3 Alpen – see Berlin see Berlin Deutsche Welle – Schauplatz Deutschland, 10-08-91. [ Opening missing ], German with English subtitles. LLC Library Alpine Austria – The Power of Tradition LLC Library CALL NO. GR 044 Amerikaner, Ein – see Was heißt heir Deutsch? LLC Library Annette von Droste-Hülshoff CALL NO. GR 120 Art of the Middle Ages 1992 Studio Quart, about 30 minutes. -
The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals. -
Introduction Guide for Teachers
Guide for Teachers Nazism and the Holocaust Hitler’s Road to Power and Anti-Semitism page 2 From Discrimination to Holocaust page 2 Resistance and Rescue page 3 The End of the War and a Future for Survivors page 4 The Warsaw Ghetto page 5 Additional Readings and Films page 7 Propaganda Nazi Propaganda page 8 American War-Era Propaganda page 10 Additional Readings and Films page 11 The Film page 12 Introduction Whether asking about the roots of genocide or the motivation behind heroic individual acts of kindness and self-sacrifice, a key concept for students learning about the Holocaust is empathy. Yael Hersonski’s A Film Unfinished is an especially powerful classroom resource because of Hersonski’s multi-faceted approach to empathy. We are asked to empathize with the innocent people trapped on screen and the reactions of Ghetto survivors reliving their pasts while watching the film. We see Hersonski probe testimony by the Nazi cameraman responsible for the footage, questioning his failure to empathize with his unwilling subjects. Finally, we are asked to reevaluate our sometimes-numbing relationship to Holocaust documentary footage and acknowledge the essential humanity of each person on screen – either through a freeze-frame of a telling look into the lens or by the devastating reminder that each body sliding into a mass grave is a fellow human being, someone’s mother, father, sibling, or child. The film offers many different layers of possible analysis and classroom discussion; it could be used as a jumping-off point for a broader lesson about the Holocaust, or it could promote further discussion at the end of a Holocaust curriculum. -
Wehrmacht Propaganda Troops and the Jews1 Daniel Uziel
Wehrmacht Propaganda Troops and the Jews1 Daniel Uziel The representation of the Jews in Nazi propaganda has long been a popular topic of inquiry in regard to the Holocaust and antisemitism. In particular, there has been substantial work on antisemitic films, the newspaper Der Stürmer, and its editor, Julius Streicher.2 Nonetheless, to date there has been no serious attempt to determine precisely who disseminated what within the framework of the antisemitic campaign in Nazi Germany. It has been generally assumed that the driving force was the Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda, RMVP) headed by Josef Goebbels, or the initiatives of various Nazi party organizations. There has been no research on the specific role of the Wehrmacht propaganda machine in this connection, especially during the war, even though it was the source for the bulk of propaganda material disseminated to the Germans and other peoples. In 1995, a traveling exhibition on Wehrmacht war crimes opened in Germany, focusing on the complicity of the Wehrmacht in the persecution and destruction of the Jews. The exhibition sparked a fresh wave of interest in the topic. In general, propaganda troops have not been the focus of renewed inquiry, except for isolated references that have not been incorporated into a more encompassing framework. How did propaganda troops deal with the question of the Jews? Such an examination can deepen our knowledge of the Wehrmacht’s active complicity in Jewish persecution and its general character and shed light on a little known aspect of Nazi propaganda. 1 This article is derived from the author’s doctoral research on Wehrmacht propaganda and German public opinion. -
Copyright by Christelle Georgette Le Faucheur 2012
Copyright by Christelle Georgette Le Faucheur 2012 The Dissertation Committee for Christelle Georgette Le Faucheur Certifies that this is the approved version of the following dissertation: Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 Committee: David Crew, Supervisor Sabine Hake, Co-Supervisor Judith Coffin Joan Neuberger Janet Staiger Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 by Christelle Georgette Le Faucheur, Magister Artium Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Acknowledgements Though the writing of the dissertation is often a solitary endeavor, I could not have completed it without the support of a number of institutions and individuals. I am grateful to the Department of History at the University of Texas at Austin, for its consistent support of my graduate studies. Years of Teaching Assistantships followed by Assistant Instructor positions have allowed me to remain financially afloat, a vital condition for the completion of any dissertation. Grants from the Dora Bonham Memorial Fund and the Centennial Graduate Student Support Fund enabled me to travel to conferences and present the preliminary results of my work, leading to fruitful discussions and great improvements. The Continuing Fellowship supported a year of dissertation writing. Without the help of Marilyn Lehman, Graduate Coordinator, most of this would not have been possible and I am grateful for her help. I must also thank the German Academic Exchange Service, DAAD, for granting me two extensive scholarships which allowed me to travel to Germany. -
Fake News & Film: How Alternative Facts Influence the National Discourse
297 GELTZER (DO NOT DELETE) 5/5/2018 1:36 PM FAKE NEWS & FILM: HOW ALTERNATIVE FACTS INFLUENCE THE NATIONAL DISCOURSE Jeremy Geltzer I. INTRODUCTION Aliens invade New Jersey! Hitler loves the Jews! 9/11 was a false flag operation! Ludicrous, preposterous, and ridiculous statements all, and yet each of these reports was at one point passed off and positioned as a truthful account. Fake news is not a new political tool. In 1782, Benjamin Franklin published a claim that George III “furnished the Savages with hatchets and scalping knives, and engages them to fall upon our defen[s]eless farmers, and murder them with their wives and children.”1 While there is little evidence the King of England actually commissioned indigenous Americans to murder colonial families, Franklin’s publications riled a country still engaged in revolution. In contemporary America, the trope “fake news” gained greater visibility after the 2016 Presidential Election. Political factions weaponized the rallying cry of “fake news” as a method of branding reports considered critical and events deemed unfavorable. By simply labeling credible information “fake news,” authenticity could be discredited. While this phrase cast a pall on objective journalism, a door was simultaneously Jeremy Geltzer is an attorney and author of multiple books, including DIRTY WORDS & FILTHY PICTURES: FILM AND THE FIRST AMENDMENT (The University of Texas Press, 2016) and FILM CENSORSHIP IN AMERICA: A STATE-BY-STATE HISTORY (McFarland, 2017). Geltzer would like to thank his wife Heather and son Jackson as well as Professor Epstein and the staff of Southwestern Law Review, with a special acknowledgement to Rosio Flores and Robert Rhoten for their excellent assistance. -
Fascist Art and the Nazi Regime: the Use of Art to Enflame War”
“Fascist Art and the Nazi Regime: The Use of Art to Enflame War” A thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Stephanie Petcavage April 2016 Thesis Chair: Dr. Todd Herzog Abstract For centuries, political leaders have used propaganda to promote ideology and acts of military aggression. In his studies of this concept, Walter Benjamin, in his aestheticization theory of historical experience and sense perception focused on Nazi Germany’s use of aesthetics politics and propaganda to redefine the political as the autonomous realm of absolute power over ethical norms. The Third Reich manipulated Nazi culture and aesthetics to create a backdrop for political ideology and the coordination of all cultural expressions during the Nazi period. Under Hitler and the realm of the Third Reich, fascist politics infiltrated the arts and film industry tapping its access to the masses. Two events most indicative of the exploitation of art for propaganda use were the Great German Art Exhibition and the syndication of Leni Riefenstahl’s film Triumph of the Will. Discussed in this paper is Hitler’s use of art as a tool to influence the populace and recruit support for his cause. Using a qualitative method and a sociological case study research design supported by a critical literature review and the conceptual framework of Benjamin’s theory of Aestheticization of Politics under German Fascism, I examine how Nazi propaganda, using the arts of the time selectively apportions acceptance of its social members. -
People As Propaganda: Personifications of Homeland in Nazi German and Soviet Russian Cinema
People as Propaganda: Personifications of Homeland in Nazi German and Soviet Russian Cinema A thesis submitted to the Graduate School Of the University of Cincinnati In partial fulfilment of the Requirement for the degree of Master of Arts In the Department of German Studies Of the College of Arts and Sciences By Alexa J. Mendez B.A. German Studies University of Cincinnati B.A. History University of Cincinnati June 2015 Committee Chair: Valerie A. Weinstein, Ph.D. Abstract This thesis analyzes the use of film in Nazi Germany and Soviet Russia as extensions of propaganda and sociopolitical indoctrination within both regimes. Moreover, this thesis analyzes the ways in which each respective nation's concept of homeland ('Heimat' in German, 'Rodina' in Russian) coincided with political thought. Through this, both regimes utilized cinema as a platform for propagating ideas of homeland via the portrayal of the perfect citizen of their regime. This study demonstrates this through the analysis of Nazi German and Soviet Russian films of similar content, themes, and production dates. This study thus argues that a homeland, as demonstrated through select films produced by each regime between the years of 1933-1945, is comprised of its people, whom each State attempted to mold into perfect citizens. Although ideas of what defined the perfect citizen varied between Nazi Germany and Soviet Russia, many similarities between them are to be drawn. Dissecting these similarities allows for greater academic understanding of the atrocities and events that occurred throughout the twentieth century in the name of both schools of thought. i ©Alexa Mendez 2015 ii Acknowledgements I would like to thank everyone who has made this thesis possible. -
The Image of the Enemy: to Auschwitz with Righteousness
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2011 The mI age of the Enemy: To Auschwitz with Righteousness. David Crabtree East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the History Commons Recommended Citation Crabtree, David, "The mI age of the Enemy: To Auschwitz with Righteousness." (2011). Undergraduate Honors Theses. Paper 8. https://dc.etsu.edu/honors/8 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Copyright © 2011 by David Crabtree The Image of the Enemy: To Auschwitz with Righteousness Thesis submitted in partial fulfillment of University Honors By David Crabtree The Honors College University Honors Program East Tennessee State University February 25, 2011 Dr. Stephen Fritz, Faculty Advisor Dr. Elwood Watson, Faculty Reader Dr. Jennifer Barker, Faculty Reader ABSTRACT This thesis is a study and analysis of Nazi propaganda, specifically focusing on the medium of film. Throughout Hitler’s Third Reich, propaganda played a vital role in maintaining popular support for the party platform in addition to fueling the convictions of the Nazi elite. There are three main divisions to this study. First, an overview of the structure and organization of Nazi Germany and particularly The Ministry of Public Enlightenment and Propaganda will be given, followed by an exploration of the origins and evolution of anti-Semitism in the Third Reich.