From the Holocaust to Hogans Heroes: the Autobiography of Robert Clary Pdf
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DP Musée De La Libération UK.Indd
PRESS KIT LE MUSÉE DE LA LIBÉRATION DE PARIS MUSÉE DU GÉNÉRAL LECLERC MUSÉE JEAN MOULIN OPENING 25 AUGUST 2019 OPENING 25 AUGUST 2019 LE MUSÉE DE LA LIBÉRATION DE PARIS MUSÉE DU GÉNÉRAL LECLERC MUSÉE JEAN MOULIN The musée de la Libération de Paris – musée-Général Leclerc – musée Jean Moulin will be ofcially opened on 25 August 2019, marking the 75th anniversary of the Liberation of Paris. Entirely restored and newly laid out, the museum in the 14th arrondissement comprises the 18th-century Ledoux pavilions on Place Denfert-Rochereau and the adjacent 19th-century building. The aim is let the general public share three historic aspects of the Second World War: the heroic gures of Philippe Leclerc de Hauteclocque and Jean Moulin, and the liberation of the French capital. 2 Place Denfert-Rochereau, musée de la Libération de Paris – musée-Général Leclerc – musée Jean Moulin © Pierre Antoine CONTENTS INTRODUCTION page 04 EDITORIALS page 05 THE MUSEUM OF TOMORROW: THE CHALLENGES page 06 THE MUSEUM OF TOMORROW: THE CHALLENGES A NEW HISTORICAL PRESENTATION page 07 AN EXHIBITION IN STEPS page 08 JEAN MOULIN (¡¢¢¢£¤) page 11 PHILIPPE DE HAUTECLOCQUE (¢§¢£¨) page 12 SCENOGRAPHY: THE CHOICES page 13 ENHANCED COLLECTIONS page 15 3 DONATIONS page 16 A MUSEUM FOR ALL page 17 A HERITAGE SETTING FOR A NEW MUSEUM page 19 THE INFORMATION CENTRE page 22 THE EXPERT ADVISORY COMMITTEE page 23 PARTNER BODIES page 24 SCHEDULE AND FINANCING OF THE WORKS page 26 SPONSORS page 27 PROJECT PERSONNEL page 28 THE CITY OF PARIS MUSEUM NETWORK page 29 PRESS VISUALS page 30 LE MUSÉE DE LA LIBÉRATION DE PARIS MUSÉE DU GÉNÉRAL LECLERC MUSÉE JEAN MOULIN INTRODUCTION New presentation, new venue: the museums devoted to general Leclerc, the Liberation of Paris and Resistance leader Jean Moulin are leaving the Gare Montparnasse for the Ledoux pavilions on Place Denfert-Rochereau. -
Sanibei Officials Want IWA Franchisee! with City ^Zontaganza .Razzle-Dazzles
•.• «^^«;^,^, ,,_. 5 new subscribers this week Since 1961 Still firslon Sanibei and Captiva islands VOL. 34, NO. 9 TUESDAY, FEB. 28, 1995 2 SECTIONS, 36 PAGES 50 CENTS Show Biz As It Wuz By Frank Wagner Leonard Sillman and 'New Faces of 1968' During the summer of 1967, Marsha and I had driven to the Goodspeed Opera House in Moodis, Conn., to see a summer stock package of Leonard Sillman's "New Faces" (scheduled for Broadway in 1968). Leonard was one of those well known Broadway names most always associated with revues, especially his New Faces series. The most famous edition and the one that launched the greatest number of new Broadway personali- ties was "New Faces of 1952." In the company Photo by Kathleen Blasa were such potential star-personalities as Alice Parade participants Ghostley, Eartha Kitt, Paul Lynde, Ronny Sanibei Mayor Waily Kain and his wife, Joan, were two of the special participants at the recent Edison Graham, Carol Lawrence and Robert Clary Pageant of UgbtParade In downtown Fort Myers. ' ,. It was always rumored that the profits from this production were used to buy his town house in the East 70s. This stylish edifice became his residence, production offices and an extra apart- ment for rental income. Sanibei officials want In the business it was a well known fact Leonard had for some time been trying to raise enough money to put on a 1968 edition. He had IWA franchisee! with city done literally hundreds of backers auditions that By Steve Ruediger expires this summer. It was a 30-year franchise. -
(IN)CONNUE by Jennifer Ann Young
ABSTRACT DEUIL D’UNE (IN)CONNUE By Jennifer Ann Young Contemporary French author Patrick Modiano’s novels center almost entirely around memory and the traumatic events surrounding the Occupation. Modiano has spent most of his life dealing with the guilty remorse of having been born directly following the Occupation, while hundreds of thousands of others, including his estranged father, experienced it directly. Modiano’s Dora Bruder focuses on the chance encounter with a stranger and the possibility of caring deeply for this person. The heroine, Dora Bruder, mesmerizes Modiano as he devotes six years of his life to finding out the fate of this young girl, who disappeared during the Occupation. Her fate becomes his mission. This thesis explores the possibilities of loving someone without ever having met him or her. It also further discovers the (im)possibility of mourning the loss of an unknown individual. DEUIL D’UNE (IN)CONNUE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of French by Jennifer Ann Young Miami University Oxford, Ohio 2008 Advisor __________________________________ James Creech Reader __________________________________ Elisabeth Hodges Reader __________________________________ Sven-Erik Rose TABLE OF CONTENTS Introduction…………………………………………………………............. 1 Transformed Identities: La Place de l’Etoile and Dora Bruder…………….… 3 Lieux, Photos et Flâneur/Flâneuse…………………………………………... 8 Le Vide……………………………………………………………………… 19 Ecriture: Mourning and Melancholia……………………………………….… 23 Conclusion…………………………………………………………………… 32 Bibliography…………………………………………………………………. 33 ii Acknowledgements This thesis could not have been completed without the help of several individuals. The long, but rewarding road to its completion is due in part to your support, encouragement, and advice. -
She's a Playwright! P.M
Rhode Island College Digital Commons @ RIC What's News? Newspapers 4-22-1985 What's News @ Rhode Island College Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/whats_news Recommended Citation Rhode Island College, "What's News @ Rhode Island College" (1985). What's News?. 295. https://digitalcommons.ric.edu/whats_news/295 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in What's News? by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. History club brings Robert Clary: Holocaust survivor• and TV star here Robert Clary, known internationally to 16 children, Clary began performing quit e Clar y and the rest of his famil.y were television viewers for his role as LeBeau in early in life. He was singing profes sionally placed in a cattle car with I 00 other French the comedy series about prisoners of war, throughout Paris at age 12. Jews and traveled for three days and two Hogan's Heroes, is a survivor of a much When the Nazis invaded France in 1940 nights before reaching the first of four grimmer sort of German prison camp . cha nges that were to alter his life forever camps in which he was held prisoner dur Clary spent the years from 1942 when he began . ing the war. was 16 until 1945 in German concentration In 1942 the Germans came for him and Because he was young and . strong he was camps. -
The Last Laugh
THE LAST LAUGH A Tangerine Entertainment Production A film by Ferne Pearlstein Featuring: Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Susie Essman, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Abraham Foxman, Lisa Lampanelli, David Cross, Roz Weinman, Klara Firestone, Elly Gross, Deb Filler, Etgar Keret, Shalom Auslander, Jake Ehrenreich, Hanala Sagal and Renee Firestone Directed, Photographed and Edited by: Ferne Pearlstein Written by: Ferne Pearlstein and Robert Edwards Produced by: Ferne Pearlstein and Robert Edwards, Amy Hobby and Anne Hubbell, Jan Warner 2016 / USA / Color / Documentary / 85 minutes / English For clips, images, and press materials, please visit our DropBox: http://bit.ly/1V7DYcq U.S. Sales Contacts Publicity Contacts [email protected] / 212 625-1410 [email protected] Dan Braun / Submarine Janice Roland / Falco Ink Int’l Sales Contacts [email protected] [email protected] / 212 625-1410 Shannon Treusch / Falco Ink Amy Hobby / Tangerine Entertainment THE LAST LAUGH “The Holocaust itself is not funny. There's nothing funny about it. But survival, and what it takes to survive, there can be humor in that.” -Rob Reiner, Director “I am…privy to many of the films that are released on a yearly basis about the Holocaust. I cannot think of one project that has taken the approach of THE LAST LAUGH. THE LAST LAUGH dispels the notion that there is nothing new to say or to reveal on the subject because this aspect of survival is one that very few have explored in print and no one that I know of has examined in a feature documentary.” -Richard Tank, Executive Director at the Simon Wiesenthal Center SHORT SYNOPSIS THE LAST LAUGH is a feature documentary about what is taboo for humor, seen through the lens of the Holocaust and other seemingly off-limits topics, in a society that prizes free speech. -
2018 Disseminator Grant
2018 Disseminator Grant: Project Title: Unraveling the Past to Create a Better and Inclusive Future Jacqueline Torres-Quinones, Ed.D [email protected] South Dade Senior High School 7701 ONCE I THOUGHT THAT ANTI-SEMITISM HAD ENDED; TODAY IT IS CLEAR TO ME THAT IT WILL PROBABLY NEVER END. - ELIE WIESEL, JEWISH SURVIVOR For Information concerning ideas with Impact opportunities including Adapter and Disseminator grants, please contact: Debra Alamo, interim Program Manager Ideas with Impact The Education Fund 305-558-4544, Ext 105 Email: [email protected] www.educationfund.org Acknowledgment: First and foremost, the Unraveling the Past to Create a Better and Inclusive Future Grant, has led to the development of a practical and relevant Holocaust unit filled with various lessons that can be chunked and accessible resources for secondary teachers to use. The supportive guidance was provide by Eudelio Ferrer-Gari , a social science guru- [email protected] from Dr. Rolando Espinosa K-8 Center, The Echoes and Reflections, and the Anti-Defamation League Organizations. Within this grant, teachers will be able to acquire knowledge of how to help students understand the Holocaust better and assist them to make critical thinking connective decisions as well of how they can make a positive difference today- when dealing with challenging social and political issues. Resources used throughout the grant: Founded in 2005, Echoes & Reflections is a comprehensive Holocaust education program that delivers professional development and a rich array of resources for teachers to help students make connections to the past, gain relevant insight into human dilemmas and difficult social challenges, and to determine their roles and responsibility in the world around them. -
Newsbulletin Vol. 14, No. 1
Salve Regina University Digital Commons @ Salve Regina Newsbulletin Archives and Special Collections 10-7-1983 Newsbulletin vol. 14, no. 1 Salve Regina College Follow this and additional works at: https://digitalcommons.salve.edu/newsbulletin Part of the Education Commons Recommended Citation Salve Regina College, "Newsbulletin vol. 14, no. 1" (1983). Newsbulletin. 325. https://digitalcommons.salve.edu/newsbulletin/325 This News Article is brought to you for free and open access by the Archives and Special Collections at Digital Commons @ Salve Regina. It has been accepted for inclusion in Newsbulletin by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Office of Public Relations Salve Regina The Newport College Newport, Rhode Island 02840 Published for the Colleg_e Community on a weekly basis by the Office of Public Relations. Deadline Tuesday, NOON. VOLUME 14 NUMBER 1 October 7, 1983 This issue of Salve Regina's Newsbulletin welcomes everyone back to Salve for the 1983-1984 academic year. There will be a few changes in format beginning with the next issue. The Newsbulletin will be published for the College community on a bi-weekly basis by the Office of Public Relations. We hope to give the bulletin a new look. Future issues will be released on the first and third Fridays of every month with the deadline being on the previous Friday. Department chairmen will be receiving request forms for in formation. These will allow faculty to submit announcements, events and other campus news they would li'ke to see appear in the Newsbulletin. Remember - the deadline for submitting information for the next issue is 11:30 a.m. -
Remembering World War II: an Analysis of British and American Portrayals of the War in Television and Film Renee Thiele Abstract Methods Future Work
Remembering World War II: An Analysis of British and American Portrayals of the War in Television and Film Renee Thiele Abstract Methods Future Work How do American and British society view World War II through the lens of media? • Film and television portrayals of World War II 1. Analyze a wider range of film and television examples • British and American cinematic perspective • Realizing that WWII portrayals are multi-faceted 2. Determine if the American cinema or the British cinemas was more • Interpretations of World War II • WWII portrayals offer different points of view, intent/objectives, and truth in fiction. historically accurate • Foyle’s War Analyzing films for themes, emphasized material, and historical truthfulness • Battle of Britain • 3. Expand the research focus to include other cinematic cultures • Hogan’s Heroes 4. Conduct surveys to see what messages and themes various audience • Schindler’s List • Historical value Conclusions members are pulling from the selected media • Messages/themes 5. Examine the media to see which portrayals are skewed the most by bias FOYLE’S WAR: Introduction • Historical authenticity with consulting Foyle’s War—very References Foyle’s War: historically grounded picture historian (Imperial War Museum) Primary Sources: • Feasible basis of crime in Britain of World War II PBS British television series (2002-2015) “Article 1—No Title.” The Manchester Guardian (1901-1959), Mar 28, 1941. • http://ezproxy.liberty.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fhistorical- • Additional war front (Homefront): May 1940- January 1947 • True depiction of Britain newspapers%2Farticle-1-no-title%2Fdocview%2F484985757%2Fse- 2%3Faccountid%3D12085. • Sacrifices of war Clary, Robert. -
Weapons of the Spirit, Transcript of the Feature Documentary. Bill Moyers Interviews Filmmaker Pierre Sauvage, Transcript of the P
UOCUMENT RESUME ED 398 108 SO 026 356 AUTHOR Sauvage, Pierre TITLE Weapons of the Spirit, Transcript of the Feature Documentary. Bill Moyers Interviews Filmmaker Pierre Sauvage, Transcript of the P. B. S. Broadcast, and Additional Background Material. INSTITUTION Friends of Le Chambon Foundation, Los Angeles, CA. PUB DATE 89 NOTE 210p.; Accompanying two part videotape not available from EDRS. AVAILABLE FROM Friends of Le Chambon Foundation, 8033 Sunset Blvd. #784, Los Angeles, CA 90046 (classroom version videocassette with interview of filmmaker: 35 minutes, $49.95). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Creative Works (Literature,Drama,Fine Arts)(030) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Adults; *Critical Viewing; Cultural Awareness; Elementary Secondary Education; Enrichment Activities; *Foreign Countries; Interdisciplinary Approach; Multimedia Materials; *Personal Narratives; Postsecondary Education; *Social Studies; World War II IDENTIFIERS *France (Le Chambon); French Resistance; Holocaust; Nazi Occupation of Frwrice ABSTRACT This documentary tells the wartime story of Le Chambon, a tiny Protestant village in France that defied the Nazi occupation and provided a safe haven for thousands of Jews. Using interviews, old photographs and footage, and specially declassified documents, the film [and transcript] examine the difference between being a bystander and a participant in the salvation of Jews from Nazis, and celebrates humanity's capacity for good. The transcript of the documentyry and Bill Moyers' interviews with Pierre Sauvage includes over 70 pages of background articles, interviews, maps, bibliographies, and directed discussion guidelines for the classroom. (DOE) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 1.1Mfirch 24, 1993 (4130/92) 00 00 L.1-1 0 IP 111 Transcript of Ie feature documentary vs, V II/P Transcript of the PB5. -
Sgt. Bilko, M*A*S*H and the Heyday of U.S
TV/Series 10 | 2016 Guerres en séries (II) “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/1764 DOI: 10.4000/tvseries.1764 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) », TV/Series [Online], 10 | 2016, Online since 01 December 2016, connection on 05 May 2019. URL : http://journals.openedition.org/tvseries/1764 ; DOI : 10.4000/ tvseries.1764 This text was automatically generated on 5 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and t... 1 “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy 1 If the title of this paper quotes part of the refrain from Edwin Starr’s 1970 protest song, “War,” the song’s next line, proclaiming that war is good for “absolutely nothing” seems inaccurate, at least in terms of successful television sitcoms of from the 1950s to the 1970s. In fact, while Starr’s song was still an anti-Vietnam War battle cry, ground- breaking television programs like M*A*S*H (CBS, 1972-1983) were using laughter and tongue-in-cheek treatment of the horrors of war to provide a somewhat more palatable expression of the growing anti-war sentiment to American audiences. -
THE LAST LAUGH” TRT: 01:27:54:14 PRODUCER: Tangerine Entertainment
TRANSCRIPTION TITLE: “THE LAST LAUGH” TRT: 01:27:54:14 PRODUCER: Tangerine Entertainment TIME CODE SPEAKER DIALOGUE 01:00:00.00 FILM START FILM START 01:00:05.00 TANGERINE LOGO TANGERINE LOGO START 01:00:14.13 EPIGRAPH EPIGRAPH START (Whoever has cried enough, laughs. – Heinrich Mann) 01:00:10.19 TITLE CARD “THE LAST LAUGH” TITLE CARD 01:01:20.19 RENEE FIRESTONE You have some coffee? 01:01:22.05 KLARA FIRESTONE … Yeah I thought we’d just have a quick bite before we leave, but this place is this is so filthy I don’t want to lay anything down … I brought a little bit of goodies for us but my hands are not that clean… 01:01:35.16 RENEE FIRESTONE That's okay… 01:01:36.09 KLARA FIRESTONE So if you want the napkin… 01:01:52.06 RENEE FIRESTONE I don't need it. 01:01:39.08 KLARA FIRESTONE So use this napkin, okay? 01:01:46.20 RENEE FIRESTONE Auschwitz wasn't cleaner than this! 01:01:48.18 KLARA FIRESTONE I knew you'd say that. 01:01:55.09 GILBERT Two Jews have been sent to assassinate GOTTFRIED Hitler… 01:02:00.03 ROB REINER This is during the war. They've gotten some intelligence as to where Hitler might be… 01:02:05.08 GILBERT They’re standing outside his home… GOTTFRIED 01:02:07.11 ROB REINER They're hiding, they’re waiting for Hitler. Eight o'clock comes, go no Hitler. “THE LAST LAUGH” 1 01:02:12.08 GILBERT An hour goes by, he's not home yet… GOTTFRIED 01:02:14.23 ROB REINER Where’s Hitler? 01:02:15.13 GILBERT Then another two hours go by, he’s not home GOTTFRIED yet… 01:02:18.14 ROB REINER Now it's 8:30 and he still doesn't show up, and one Jew turns to the other and says: 01:02:22.19 GILBERT Gee, I hope nothing happened to him! GOTTFRIED 01:02:26.11 MEL BROOKS So what is this supposed to be? Crossing lines? Being in bad taste? So should I start the interview with… (places comb to his lip, mimicking Hitler’s mustache) Heil Hitler! Is that good? OK. -
Mémoire Et Enseignement De L'holocauste
Mémoire et enseignement de l’Holocauste : Notre responsabilité partagée Journée internationale dédiée à la mémoire des victimes de l’Holocauste Holocaust Remembrance and Education: Our Shared Responsibility International Day of Commemoration in Memory of the Victims of the Holocaust Programme Maison de l’UNESCO | 22 - 25 janvier 2018 UNESCO House | 22 – 25 January 2018 1 Journée internationale dédiée à la mémoire des victimes de l’Holocauste International Day of Commemoration in Memory of the Victims of the Holocaust En couverture : Cover : Photo : © Florence Brochoire – Atelier du Mémorial Photo: © Florence Brochoire – Elementary class de la Shoah en classe de primaire à Épinay-sur- workshop by the Shoah Memorial, Epinay-sur-Seine Seine, avril 2016 (France), April 2016 2 Journée internationale dédiée à la mémoire des victimes de l’Holocauste International Day of Commemoration in Memory of the Victims of the Holocaust Mémoire et enseignement de l’Holocauste : Notre responsabilité partagée Journée internationale dédiée à la mémoire des victimes de l’Holocauste Holocaust Remembrance and Education: Our Shared Responsibility International Day of Commemoration in Memory of the Victims of the Holocaust PROGRAMME Maison de l’UNESCO | 22 - 25 janvier 2018 UNESCO House | 22 - 25 January 2018 3 Journée internationale dédiée à la mémoire des victimes de l’Holocauste International Day of Commemoration in Memory of the Victims of the Holocaust rescapé d’Auschwitz et ancien Envoyé spécial de l’UNESCO pour l’enseignement de l’histoire de l’Holocauste et la prévention du génocide : « Nous avons un devoir viscéral de partager avec nos prochains la mémoire de ce que nous avons vécu et appris dans la chair et dans l’âme.