Filming the End of the Holocaust: Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps
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A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M. -
Printed Covers Sailing Through the Air As Their Tables Are REVIEWS and REFUTATIONS Ipped
42 RECOMMENDED READING Articles Apoliteic music: Neo-Folk, Martial Industrial and metapolitical fascism by An- ton Shekhovtsov Former ELF/Green Scare Prisoner Exile Now a Fascist by NYC Antifa Books n ٻThe Nature of Fascism by Roger Gri Modernism and Fascism: The Sense of a Beginning under Mussolini and Hitler by Roger n ٻGri n ٻFascism edited by Roger Gri Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity by Nicholas Go- A FIELD GUIDE TO STRAW MEN odrick-Clarke Gods of the Blood: The Pagan Revival and White Separatism by Mattias Gardell Modernity and the Holocaust by Zygmunt Bauman Sadie and Exile, Esoteric Fascism, and Exterminate All the Brutes by Sven Lindqvist Confronting Fascism: Discussion Documents for a Militant Movement by Don Hamerquist, Olympias Little White Lies J. Sakai, Anti-Racist Action Chicago, and Mark Salotte Baedan: A Journal of Queer Nihilism Baedan 2: A Queer Journal of Heresy Baedan 3: A Journal of Queer Time Travel Against His-story, Against Leviathan! by Fredy Perlman Caliban and the Witch: Women, the Body, and Primitive Accumulation by Silvia Federici Witchcraft and the Gay Counterculture by Arthur Evans The Many-Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revo- lutionary Atlantic by Peter Linebaugh and Marcus Rediker Gone to Croatan: Origins of North American Dropout Culture edited by Ron Sakolsky and James Koehnline The Subversion of Politics: European Autonomous Social Movements and the Decolonization of Everyday Life by Georgy Katsia cas 1312 committee // February 2016 How the Irish Became White by Noel Ignatiev How Deep is Deep Ecology? by George Bradford Against the Megamachine: Essays on Empire and Its Enemies by David Watson Elements of Refusal by John Zerzan Against Civilization edited by John Zerzan This World We Must Leave and Other Essays by Jacques Camatte 41 total resistance mounted to the advent of industrial society. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
" Triumph of the Will": a Limit Case for Effective-Historical Consciousness?
DOCUMENT RESUME ED 355 611 CS 508 146 AUTHOR Schwartzman, Roy TITLE "Triumph of the Will": A Limit Case for Effective-Historical Consciousness? PUB DATE Jan 93 NOTE 27p.; Paper presented at the Annual Florida State University Conference on Literature and Film (18th, Tallahassee, FL, January 1993). PUB TYPE Speeches/Conference Papers (150) Reports Evaluative /Feasibility (142) Guid'ts Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MFOI/PCO2 Plus Postage. DESCRIPTORS *Audience Awareness; *Critical Viewing; Documentaries; Film Criticism; *Film Study; Foreign Countries; Higher Education; *Mass Media Role; *Mass Media Use; Media Research; Nazism; *Persuasive Discourse; Propaganda IDENTIFIERS Film Genres; Film History; Film Viewing; Gadamer (Hans Georg); Germany; *Triumph of the Will ABSTRACT A film presented as factual may permit critical responses that question its purported factual objectivity and political neutrality. In class, Hans-Georg Gadamer's concept 3f effective-historical consciousness can be used to evaluate the allegedly propagandistic messages in Leni Riefenstahl's "Triumph of the Will." Analysis of this 1934 film reveals how it reinforced racial doctrines propagated by the Nazis and by scientists who sympathized with these racial views. Somewhat paradoxically, Riefenstahl's film may be considered a harbinger of twogenres in film whose essences seem contradictory: documentary and propaganda. "Triumph of the Will" contains no narration whatsoever after brief introductory remarks. Nat verbalized, these remarks are printedon successive screens in short phrases. This lack of narration reduces the critical distance between viewer and event. The opening scene features Adolf Hitler emerging from a plane to grace Nuremberg with his presence, and to rescue and transform Germany. -
Viewing, Reading, and Listening to the Trials in Eastern Europe Charting a New Historiography
Cahiers du monde russe Russie - Empire russe - Union soviétique et États indépendants 61/3-4 | 2020 Écritures visuelles, sonores et textuelles de la justice Introduction Viewing, reading, and listening to the trials in Eastern Europe Charting a New Historiography Nadège Ragaru Translator: Victoria Baena Electronic version URL: http://journals.openedition.org/monderusse/12009 DOI: 10.4000/monderusse.12009 ISSN: 1777-5388 Publisher Éditions de l’EHESS Printed version Date of publication: 1 July 2020 Number of pages: 297-316 ISBN: 978-2-7132-2832-2 ISSN: 1252-6576 Electronic reference Nadège Ragaru, “Viewing, reading, and listening to the trials in Eastern Europe”, Cahiers du monde russe [Online], 61/3-4 | 2020, Online since 01 July 2020, connection on 29 March 2021. URL: http:// journals.openedition.org/monderusse/12009 ; DOI: https://doi.org/10.4000/monderusse.12009 © École des hautes études en sciences sociales INTRODUCTION VIEWING, READING, AND LISTENING TO THE TRIALS IN EASTERN EUROPE Charting a New Historiography Since the end of World War II, the legal pursuit of war crimes before national and international jurisdictions has generated a vast scholarly literature.1 A broad range of multi-disciplinary writings have examined the political and diplomatic stakes of these trials, the legal professionals involved in the proceedings, the juridical advances they delivered, the establishment of proof and sentencing policies, as well as the didactic aims of postwar criminal justice.2 Within this scholarship, the Nuremberg (1945)3 and Eichmann (1960-1961)4 trials have captivated the most 1. The author wishes to thank Vanessa Voisin and Valérie Pozner for their valuable comments and suggestions on an earlier version of this introduction. -
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013. -
USHMM Finding
http://collections.ushmm.org Contact [email protected] for further information about this collection United States Holocaust Memorial Museum Interview with Benjamin B. Ferencz August 26, 1994 and October 21, 1994 RG-50.030*0269 The following transcript is the result of a recorded interview. The recording is the primary source document, not this transcript. It has not been checked for spelling nor verified for accuracy. This document should not be quoted or used without first checking it against the interview. The interview is part of the United States Holocaust Memorial Museum's collection of oral testimonies. Information about access and usage rights can be found in the catalog record. http://collections.ushmm.org Contact [email protected] for further information about this collection PREFACE The following oral history testimony is the result of a videotaped interview with Benjamin B. Ferencz conducted by Joan Ringelheim on August 26, 1994 on behalf of the United States Holocaust Memorial Museum. The interview took place in New Rochelle, NY, and is part of the United States Holocaust Research Institute's collection of oral testimonies. The reader should bear in mind that this is a verbatim transcript of spoken, rather than written prose. This transcript has been neither checked for spelling nor verified for accuracy, and therefore, it is possible that there are errors. As a result, nothing should be quoted or used from this transcript without first checking it against the taped interview. The following transcript is the result of a recorded interview. The recording is the primary source document, not this transcript. -
Visualizing the Past: Perestroika Documentary Memory Of
VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past. -
Billy Wilder
Extrait de la publication Présentation de l’éditeur : « Je me contente de faire des films que j’aimerais voir » ; « S’il y a une chose que je déteste plus que de ne pas être pris au sérieux, c’est de l’être trop. » Derrière ces boutades se cache la personnalité d’un témoin passionné de la société qui l’entoure. Billy Wilder, qui a toujours considéré que Lubitsch était maître dans la manière de passer avec ironie du drame à la comédie, a fait de cette fondamentale ambiguïté le cœur de son cinéma. Limiter sa carrière à ses éblouissantes comédies serait une erreur. Il s’est aussi attaché au monde du journalisme à sensation (Le Gouffre aux chimères), à la guerre (Stalag 17, Les Cinq Secrets du désert), à l’univers hollywodien (Sunset Boulevard) et au film noir (Assurance sur la mort), dirigeant au passage certains des comédiens les plus célèbres de l’époque : Humphrey Bogart, Gary Cooper, Bing Crosby, Marlène Dietrich, William Holden, Dean Martin, Kim Novak, Jack Lemmon, Barbara Stanwyck, Erich von Stroheim, Gloria Swanson… On lui doit une Audrey Hepburn plus séduisante que jamais dans Sabrina et Ariane et deux des plus beaux rôles de Marilyn Monroe, Sept ans de réflexion et Certains l’aiment chaud. L’ouvrage retrace la carrière de Wilder depuis ses débuts comme scénariste, avant d’étudier chacune de ses réalisations. Un livre haut en couleurs sur un artiste hors du commun. Auteur de nombreux ouvrages dont John Ford, John Huston, Clint Eastwood et Le Film noir, Patrick Brion est historien du cinéma, spécialiste du cinéma américain. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.