Racism, Genocide, and Resistance: the Politics of Language And
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'Crimes of Government': William Patterson, Civil Rights, and American Criminal Justice
“Crimes of Government” William Patterson, Civil Rights, and American Criminal Justice Alexandra Fay Undergraduate Thesis Department of History Columbia University April 4, 2018 Seminar Advisor: Elizabeth Blackmar Second Reader: Karl Jacoby Contents Introduction ..................................................................................................................................... 3 Radical Beginnings ......................................................................................................................... 8 The Scottsboro Nine ..................................................................................................................... 17 The Trenton Six ............................................................................................................................ 32 Conclusion .................................................................................................................................... 52 Bibliography ................................................................................................................................. 63 2 Introduction “Why did you do this thing, Patterson?” demanded Channing Tobias. At the 1951 United Nations convention in Paris, Tobias represented the National Association for the Advancement of Colored People (NAACP). Dignified, sixty-nine-year-old Tobias was an official American delegate. Bombastic, bespectacled, sixty-year-old William Patterson arrived in Paris despite the State Department’s best efforts to keep him away. His mission -
Ernst Thälmann – Führer Seiner Klasse (1955) Propaganda Für Arbeiterklasse, Partei Und Heroismus
Ernst thälmann – FührEr sEinEr KlassE (1955) Propaganda für Arbeiterklasse, Partei und Heroismus 1 FilmographischE angabEn 3 2 Filminhalt 3 3 HistorischE KontExtualisiErung 4 4 DiDaKtischE übErlEgungEn 7 5 ArbEitsanrEgungEn 11 6 MatErial 13 7 LitEratur 29 2 Unterrichtsmaterial Ernst Thälmann – Führer seiner Klasse www.ddr-im-film.de 1 FilmographischE angabEn Regie Kurt Maetzig Drehbuch Willi Bredel, Michael Tschesno-Hell, Kurt Maetzig Kamera Karl Plintzner, Horst E. Brandt schnitt Lena Neumann Musik Wilhelm Neef bauten Otto Erdmann, Willy Schiller, Alfred Hirschmeier Kostüme Gerhard Kaddatz produktion DEFA-Studio für Spielfilme (Potsdam-Babelsberg) uraufführung 07.10.1955, Ost-Berlin/Volksbühne Länge 140 Minuten FSK ab 12 Auszeichnungen Karlovy-Vary-Filmfestival 1956: Preis für den besten Schauspieler an Günther Simon Darstellerinnen | Darsteller Günther Simon (Ernst Thälmann), Hans-Peter Minetti (Fiete Jan- sen), Karla Runkehl (Änne Hansen), Paul R. Henker (Robert Dirhagen), Hans Wehrl (Wilhelm Pieck), Karl Brenk (Walter Ulbricht), Michel Piccoli (Maurice Rouger) Gerd Wehr (Wilhelm Flo- rin), Walter Martin (Hermann Matern), Georges Stanescu (Georgi Dimitroff), Carla Hoffmann (Rosa Thälmann), Erich Franz (Arthur Vierbreiter), Raimund Schelcher (Krischan Daik), Fritz Diez (Hitler), Hans Stuhrmann (Goebbels) 2 Filminhalt Der Film behandelt das Leben des Vorsitzenden der Kommunistischen Partei Deutsch- lands, Ernst Thälmann, in den Jahren von 1930 bis zu seinem Tode 1944. In lose aneinander gereihten Szenen werden vor allem die politische Arbeit des Parteiführers gezeigt. Thälmann wohnt zu Beginn der 1930er-Jahre in einem Zimmer einer typischen Berliner Mietskasernen- wohnung, das ihm von seinem Parteifreund Fiete Jansen und dessen schwangerer Frau Änne untervermietet wird. Fiete hat jahrelang im Gefängnis gesessen. Änne ist als Mitglied des kommunistischen Jugendverbandes für die KPD politisch aktiv. -
East German Cinema: DEFA and Film History Josh Alvizu Yale University, [email protected]
EDGE - A Graduate Journal for German and Scandinavian Studies Volume 4 | Issue 1 Article 5 2014 East German Cinema: DEFA and Film History Josh Alvizu Yale University, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/edge Recommended Citation Alvizu, Josh (2014) "East German Cinema: DEFA and Film History," EDGE - A Graduate Journal for German and Scandinavian Studies: Vol. 4 : Iss. 1 , Article 5. Available at: https://scholarworks.umass.edu/edge/vol4/iss1/5 This Review is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in EDGE - A Graduate Journal for German and Scandinavian Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Alvizu: East German Cinema: DEFA and Film History East German Cinema: DEFA and Film History. By Sebastian Heiduschke. New York: Palgrave Macmillan, 2013. 196 pp. $28.00 Softcover. ISBN: 978-1-137-32231-9. East German Cinema: DEFA and Film History offers a basic introductory text to the state-run institution of the East German film industry, DEFA (Deutsche Filmaktiengesellschaft, “German Film Stock Corporation”). As its flashy cover suggests, East German Cinema strives to be more accessible in the undergraduate classroom than chapters devoted to this topic in more comprehensive recent works by Stephen Brockmann and Sabine Hake.1 Heiduschke’s volume is also more approachable for students than Séan Allan and John Sandford’s older edited volume, -
We Charge Genocide
WE CHARGE GENOCIDE POLICE VIOLENCE AGAINST CHICAGO’S YOUTH OF COLOR A report prepared for the United Nations Committee Against Torture on the occasion of its review of The United States of America’s Third Periodic Report to the Committee Against Torture September 2014 EXECUTIVE SUMMARY We Charge Genocide (“WCG”) is a grassroots, inter-generational, volunteer effort to center the voices and experiences of the young people most targeted by police and most impacted by police violence in Chicago. The name We Charge Genocide comes from a petition submitted by the Civil Rights Congress to the United Nations in 1951, which documented 153 racial killings and other human rights abuses, mostly by the police. Today, police violence continues to afflict communities of color throughout the United States. Instances of police violence reveal the underlying relationship between marginalized communities and the state. This is a relationship of unequal access to power and resources—a relationship where violence is used by the police to silence, isolate, control, and repress low-income people and young people of color in particular. This report calls to the attention of the UN Committee Against Torture (“Committee”) the ongoing and pervasive violations of the Convention Against Torture (“Convention”) committed by the Chicago Police Department (“CPD”) against young people of color. Specifically, we focus on the CPD’s acts (and failures to act) that violate Articles 2 and 10 to 14 of the Convention. At base, the CPD’s conduct constitutes torture and cruel, inhuman, or degrading treatment (“CIDT”) as defined by the Convention, and occurs at extraordinary rates, disproportionately against minorities, and with impunity. -
The Black Freedom Movement and the Politics of the Anti- Genocide Norm in the United States, 1951 - 1967
Genocide Studies and Prevention: An International Journal Volume 13 Issue 1 Revisiting the Life and Work of Raphaël Article 13 Lemkin 4-2019 The Black Freedom Movement and the Politics of the Anti- Genocide Norm in the United States, 1951 - 1967 Daniel E. Solomon Georgetown University Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Solomon, Daniel E. (2019) "The Black Freedom Movement and the Politics of the Anti-Genocide Norm in the United States, 1951 - 1967," Genocide Studies and Prevention: An International Journal: Vol. 13: Iss. 1: 130-143. DOI: https://doi.org/10.5038/1911-9933.13.1.1609 Available at: https://scholarcommons.usf.edu/gsp/vol13/iss1/13 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. The Black Freedom Movement and the Politics of the Anti-Genocide Norm in the United States, 1951 - 1967 Acknowledgements I thank Gerald Horne and the archival staffs of the Moorland-Spingarn Research Center at Howard University and the Schomburg Center for Research in Black Culture for their research guidance. This article is available in Genocide Studies and Prevention: An International Journal: https://scholarcommons.usf.edu/gsp/vol13/iss1/13 The Black Freedom Movement and the Politics of the Anti-Genocide Norm in the United States, 1951 - 1967 Daniel E. Solomon Georgetown University Washington D.C., USA Introduction Historians have documented well the contentious relationship between the normative architecture of international human rights and the politics of race in the postwar United States.1 The then-nascent anti-genocide norm, as articulated in the 1948 Genocide Convention, was an essential part of this historical drama. -
We Charge Genocide”: Revisiting Black Radicals’ Appeals to the World Community1
Radical Americas Article “We Charge Genocide”: Revisiting black radicals’ appeals to the world community1 David Helps University of Michigan, Ann Arbor, MI, USA; [email protected] How to Cite: Helps, D.“‘We Charge Genocide”: Revisiting black radicals’ appeals to the world community.’ Radical Americas 3, 1 (2018): 9. DOI: https://doi.org/10.14324/111.444.ra.2018.v3.1.009. Acceptance date: 26 June 2018; Publication date: 10 August 2018 Peer review: This article has been peer reviewed through the journal’s standard double blind peer-review, where both the reviewers and authors are anonymised during review. Copyright: c 2018, David Helps. This is an open access article distributed under the terms of the Creative Commons Attribution License (CC BY) 4.0 https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution and reproduction in any medium, provided the original author and source are credited • DOI: https://doi.org/10.14324/111.444.ra.2018.v3.1.009. Open access: Radical Americas is a peer-reviewed open access journal. Abstract In 1951, black radical William Patterson presented the United Nations with a petition, emblazoned with the title We Charge Genocide. The document charged the US government with snuffing out tens of thousands of black lives each year, through police violence and the systemic neglect of black citizens’ well-being. While historians have tended to discuss We Charge Genocide as a remarkable but brief episode, the petition built on prior attempts to invoke international law on behalf of African Americans and resonated with later generations of black activists whose political activism transcended more limited and domestic notions of civil rights. -
The Silent Star : the Context, Score and Thematics of the 1960 Film Adaptation of Stanisław Lem's Novel Astronauci
Sounds of The Silent Star : The context, score and thematics of the 1960 film adaptation of Stanisław Lem's novel Astronauci Philip Hayward, Natalie Lewandowski Science Fiction Film and Television, Volume 3, Issue 2, Autumn 2010, pp. 183-200 (Article) Published by Liverpool University Press For additional information about this article https://muse.jhu.edu/article/400618 Access provided by McGill University Libraries (24 Nov 2017 13:41 GMT) Sounds of The Silent Star The context, score and thematics of the 1960 film adaptation of Stanisław Lem’s novel Astronauci Philip Hayward and Natalie Lewandowski Our study examines the production context and interrelation of sound design, score and thematics in the feature film adaptation of Stanisław Lem’s 1951 novel Astronauci (‘Astronauts’). This article analyses the production of the original 1960 version, directed by East German Kurt Maetzig (in dual language versions) as an East German/Polish co-production entitled Der Schweigende Stern/Milcząca Gwiazda (both translating as The Silent Star), with particular regard to its innovative use of sound design and electronic music, and the manner in which these function to create senses of interplanetary difference, alienation and modernity appropriate to the film’s cautionary moral-ecological narrative. Jim Finn’s film Interkosmos (2006) provides an account of the East German space programme in the 1970s, depicting the national space agency’s attempt to explore and subsequently colonise the moons of Jupiter and Venus. Peppered with Marxist rhetoric, the film shows visualisations of space flights accompa- nied by dry narration and crackly voice communications between astronauts. The film is – of course – a spoof. -
Ernst Thälmann – Führer Seiner Klasse (1955) Propaganda Für Arbeiterklasse, Partei Und Heroismus
Ernst thälmann – FührEr sEinEr KlassE (1955) Propaganda für Arbeiterklasse, Partei und Heroismus 1 FilmographischE angabEn . 3 2 Filminhalt . 3 3 HistorischE KontExtualisiErung . 5 4 DiDaKtischE übErlEgungEn . 8 5 ArbEitsanrEgungEn . 11. 6 MatErial . 13 Material 1: Was ist Propaganda? . 13 Material 2: Ernst Thälmann – historische Figur und Mythos . 14 Material 3: Historische Traditionen der SED . 17 Material 4: Umgang der SED mit der nationalsozialistischen Vergangenheit . 20 Material 5: Produktionsbedingungen des Films . 21 Material 6: Propaganda oder Wirklichkeit? . 24 Material 7: Filmische Mittel des Propaganda-Films und ihre Wirkung . 25 Material 8: Zeitgenössische Kritiken des Films . 28 7 LitEratur . 29 2 Unterrichtsmaterial Ernst Thälmann – Führer seiner Klasse www.ddr-im-film.de 1 FilmographischE angabEn Regie Kurt Maetzig Drehbuch Willi Bredel, Michael Tschesno-Hell, Kurt Maetzig Kamera Karl Plint- zner, Horst E. Brandt schnitt Lena Neumann Musik Wilhelm Neef bauten Otto Erdmann, Willy Schiller, Alfred Hirschmeier Kostüme Gerhard Kaddatz produktion DEFA-Studio für Spielfilme (Potsdam-Babelsberg) uraufführung 07.10.1955, Ost-Berlin/Volksbühne Länge 140 Minuten FsK ab 12 Auszeichnungen Karlovy-Vary-Filmfestival 1956: Preis für den be- sten Schauspieler an Günther Simon Darstellerinnen | Darsteller Günther Simon (Ernst Thälmann), Hans-Peter Minetti (Fiete Jansen), Karla Runkehl (Änne Jansen), Paul R. Henker (Robert Dirhagen), Hans Wehrl (Wilhelm Pieck), Karl Brenk (Walter Ulbricht), Michel Piccoli (Maurice Rouger) Gerd Wehr (Wilhelm Florin), Walter Mar- tin (Hermann Matern), Georges Stanescu (Georgi Dimitroff), Carla Hoffmann (Rosa Thälmann), Erich Franz (Arthur Vierbreiter), Raimund Schelcher (Krischan Daik), Fritz Diez (Hitler), Hans Stuhr- mann (Goebbels) u.a. 2 Filminhalt Der Film behandelt das Leben des Vorsitzenden der Kommunistischen Partei Deutschlands, Ernst Thälmann, in den Jahren von 1930 bis zu seinem Tode 1944. -
One Every 28 Hours
WE CHARGE GENOCIDE AGAIN! A Curriculum for Operation Ghetto Storm: Report on the 2012 Extrajudicial Killings of 313 Black People by Police, Security Guards and Vigilantes. ONE EVERY 28 HOURS. Prepared by Tongo Eisen-Martin 1 2 Introduction WE CHARGE GENOCIDE AGAIN is the companion curriculum for the Operation Ghetto Storm: Report on the 2012 Extrajudicial Killings of Black People. The objective of the curriculum is to have teacher-students and student- teachers engage the realities of extrajudicial killing of black people with critical thinking and analysis. In 2012, police summarily executed more than 313 Black people—one every 28 hours. The use of deadly force against Black people is standard practice in the US—woven into the very fabric of society. Through our study of the extra-judicial killing of black people, we can understand the apparatus of repression. The intention is for our study of and action against murderous state sanctioned repres- sion be one tool of a complex of resistance to empire. We encourage teacher- students and student-teachers to use this curriculum as a mal- leable menu. Not all discussion and writing prompts have to be used. Add prompts and text (of all mediums) of your own. Discussion prompts may be used for writing. Writing prompts may be converted to discussion. Writing and discussion prompts may be con- verted to visual art or any other medium of expression. Individual work can all be made collective work. We only recommend that you conform this curriculum to the critical energy of the learning circle for which the curriculum is being facilitated. -
Holocaust Film Before the Holocaust
Document généré le 28 sept. 2021 22:42 Cinémas Revue d'études cinématographiques Journal of Film Studies Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps Les films sur l’Holocauste avant l’Holocauste : la DEFA, l’antifascisme et les camps David Bathrick Mémoires de l’Allemagne divisée. Autour de la DEFA Résumé de l'article Volume 18, numéro 1, automne 2007 Très peu de films représentant l’Holocauste ont été produits avant les années 1970. Cette période a souvent été considérée, sur le plan international, comme URI : https://id.erudit.org/iderudit/017849ar une période de désaveu, tant politique que cinématographique, de la DOI : https://doi.org/10.7202/017849ar catastrophe ayant frappé les Juifs. Outre les productions hollywoodiennes The Diary of Anne Frank (George Stevens, 1960), Judgment at Nuremberg (Stanley Aller au sommaire du numéro Kramer, 1961) et The Pawnbroker (Sidney Lumet, 1965), on a souvent fait remarquer que peu de films est- ou ouest-européens ont émergé de ce paysage politique et culturel, ce qui a été perçu par plusieurs comme une incapacité ou une réticence à traiter du sujet. Le présent article fait de cette présomption son Éditeur(s) principal enjeu en s’intéressant à des films tournés par la DEFA entre 1946 Cinémas et 1963, dans la zone soviétique de Berlin-Est et en Allemagne de l’Est, et qui ont pour objet la persécution des Juifs sous le Troisième Reich. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Bathrick, D. (2007). Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps. -
Marriage in the Shadows • a DVD Release by the DEFA Film Library Contemporary Press Comments Marriage in the Shadows 23.08.13 08:07 Seite 2
Contemporary Press Comments_Marriage in the Shadows 23.08.13 08:07 Seite 1 Contemporary Press Comments y Introduction r a r b i L m l Marriage in the Shadows premiered in all four occupied sectors of Berlin on October 3, 1947: at the i F A Filmtheater am Friedrichshain (Soviet sector), the Cosima in Friedenau (American sector), the Prinzenpalast F E 1 D in Gesundbrunnen (French sector) and the Kurbel in Charlottenburg (British sector). At the time, a coor - e h t dinated premiere in all four parts of the city was a very special event. As the commander of each sector was y b e responsible for licensing films from other sectors, films were usually screened only in the sector in which s a e 2 l they were produced. The same held true for the different occupied zones of Germany. e R D V D Director Kurt Maetzig recalled what might have provided the basis for coordinating the four simultaneous A • premieres: “Before Marriage in the Shadows , I had co-founded the Augenzeuge (Eyewitness Newsreel ) s w o series and been able to arrange for distribution of the DEFA Newsreel in all sectors of the city with the four d a h S Berlin commanders. They knew me and they knew my work. In addition, the topic of the film was important e h 3 t to them.” Kurt Maetzig and his main actors drove from one cinema to the next on the evening of the premiere, n i e as scheduling had made it possible for the team to take a bow after each screening. -
Spring 2015 the AMBASSADOR
Volume XVII Spring 2015 THE AMBASSADOR Department of World languages and cultures . Notes from The chair It’s Spring! The snows of winter have given way to the rains of spring. The crocuses will soon pop up to greet us. And we too arise from our winter doldrums, resurrected from the dark days. Or as e.e. cummings says, Spring is like a perhaps hand (which comes carefully out of Nowhere)arranging a window,into which people look(while people stare arranging and changing placing carefully there a strange thing and a known thing here)and changing everything carefully spring is like a perhaps Hand in a window (carefully to and fro moving New and Old things,while people stare carefully moving a perhaps fraction of flower here placing an inch of air there)and without breaking anything. Inside this issue: Faculty Activities Studying Abroad LAS & Spanish Film Series Department Happenings East German Film Series 2015 Fulbright TA Talk Page 2 Faculty Activities THE AMBASSADOR Dr. Jamie Trnka Holmes Redux.” Robert Downey, saison de l’ombre (64th MIFLC, Jr., from Brat to Icon. Essays on the Greenville, South Carolina, October Film Career. Ed. Erin E. 2014) is currently being reworked into an article. She additionally travelled to Dr. Jamie H. MacDonald. Jefferson, N.C.: London, England in January 2015 to Trnka’s book McFarland, 2014. She is currently attend a conference on Language appeared in print working on an essay on the novels Pedagogy where she presented a paper in February. of Louise Penny for a book on titled “Teaching Foreign Languages Revolutionary Canadian crime fiction, tentatively across the Curriculum (FLAC): Hybrid Subjects titled The Matter of Murder.