DOCSLIB.ORG

Holocaust Memo-Real: Re-Designing WW2 Memory Through Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Holocaust Memo-Real: Re-Designing WW2 Memory Through Films Holocaust Memo-real: Re-designing WW2 Memory through Films More than 70 years have passed since the end of the second world war, and the challenge of preserving the memory of humanity's most horrendous trauma is becoming harder and harder with every year that passes and with each survivor's passing. Today, more than ever, cinema is filling a crucial role in keeping the memories present in contemporary culture, refreshing it, and adapting it for generations to come. Confronting society's fading recollection and the audience's loss of interest, filmmakers are creating a new form of collective consciousness through cinema in various genres and styles that go way beyond Schindler's List and other classic period dramas. In our course, we will expand the cinematic discourse about WW2 and the Holocaust from several viewpoints, exposing the students to a variety of movies - commercial, artistic and foreign - while delving deeper into the complexities, challenges, moral dilemmas and promise of these new, groundbreaking and sometimes provocative films. 1. Nazi Propaganda The rise of German fascism and Nazi racist ideology through the eyes of local filmmakers. From the anti-Semitic films Jud Süß, The Rothschilds and many others to the idolization of the Fuhrer Hitler and the mobilization of the masses as portrayed in Leni Riefenstahl powerful imagery, which impacted Hollywood as well (as seen in the Star Wars saga and other American blockbusters). On the other side we will examine the subversive fictional films by the critical German filmmakers of the time like Fritz Lang and his Mabuse Series and Robert Wiene and The Cabinet of Dr Caligari which we will be analyzed in the spirit of Kracauer famous book From Caligary to Hitler. Screening: Triumph of the Will (Riefenstahl, 1935. Germany) Other films in discussion: Jud Süß (Harlan, 1940. Germany); The Cabinet of Dr Caligari (Wiene, 1920. Germany); The Rothschilds (Waschneck, 1940. Gemrnay) Reading: Kracauer, Z. From Caligari to Hitler: A Psychological History of The German Film. Princeton UP, 1966. p. 61-87 • Caligari p. 61-76 • Possession of Tyrants p. 77-87 Devereaux, M. "Beauty and Evil: The Case of Leni Riefenstahl's Triumph of The Will". in: Aesthetics and Ethics. Ed: Jerrold Levinson. Cambridge UP. 1998. p. 227-256 2. Hitler in Films The question of representing Adolf Hitler. The moral issues regarding showing the distinct iconic image of Hitler as a human being in films. Over the years, filmmakers showed Hitler either as a villain or a caricature, almost never as a real person. Some tried to take a serious approach of investigating him by deconstructing it and presenting him as a fragmented human being like in the German series Hiemet by Edgar Reitz or in the arthouse film Moloch by Sokurov. The Breakthrough came with the provocative period drama Downfall by Oliver Hirschbiegel that depicted Hitler as a person. A film that while being serious and thoughtful was later used as a parody, mostly by de-contextualizing the so-called scene "Hitler's outrage". Screening: Downfall (Hirschbiegel, 2005. Germany) Other films in discussion: Moloch (Sokurov, 1999. Russia) Reading: Brady, M. & Hughes, H. "Downfall and Beyond: Hitler Films in Germany". GFL Journal No. 3. 2006. p. 94-114 3. Hitler Parody "Hitler's outrage" scene from Downfall is used to mock used all over the world to mock a variety of issues, but parody was always part of the representation of Hitler as a historical significant figure. From Charlie Chaplin's The Big Dictator who portrayed a Hitler prototype leader to many comedies produced after his Hitler defeat and referred to him directly as an insane caricature. In the interesting case of Look Who Is Back, Hitler's character is being used as a satire about the German contemporary society. Screening: Look who is Back (Wnendt, 2015. Germany) Other films in discussion: The Great Dictator (Chaplin, 1940. USA); Nazty Nuisance (Trion, 1943. USA); Herr Meets Hare (Freleng, 1945. USA); Jojo Rabbit (Waititi, 2019. USA) Reading: Sorce, G. “Hitler and Humor: Coming to Terms with the Past Through Parody”. Global Media Journal: German Edition. Vol. 5, No.2. Autumn/Winter 2015. p. 1-12 4. Concentration Camp The Holocaust is considered as the most horrendous and impactful trauma in modern history. Auschwitz and other concentration camp were Jews, political prisoners and "misfits" were being slaughters, were the culmination of the Nazi vicious atrocities and were always considered as unspeakable and indescribable. The question arises: how can cinema recreate what is impossible to recreate, an inhumane reality that cannot be re-enacted or depicted? Filmmakers from all over the world confronted these dilemmas – using different storytelling and visual and sometimes visceral tools and strategies. Screening: Son of Saul (Nemes, 2016. Hungary) Other films in discussion: Shoah (Lanzmann, 1985); The Pianist (Polanski, 2002. USA); Auschwitz (Boll, 2011. Germany); Sobibor (Khabensky, 2018. Russia); Escape from Sobibor (Gold, 1987. USA); Schindler's List (Spielberg, 1996. USA); War and Remembrance (Wouk, 1988-89. USA) Reading: Hirsch, J. Afterimage: Film, Trauma, and The Holocaust. Temple UP. 2003. 1. "Introduction to Film, Trauma, and The Holocaust". p. 1-20 6. "Postmodernism, The Second Generation, and Cross-Cultural Posttraumatic Cinema". p. 140-162 5. Youth in War The wars atrocities and cruelty inflicted by human adults is unfathomable to the common men but in the eyes of children they are even more impossible to comprehend. The story of Anne Frank and her diary serves as a pretext for numerous works of literature that provided an innocent point of view on the horrors and through it allows adult audience to try and comprehend the senseless violence of that of that time. Screening: Life is Beautiful (Benigni, 1997. Italy) Other films in discussion: The Diary of Anne Frank (Stevens, 1959); The Tin Drum (Schlöndorff, 1979. Germany); Jojo Rabbit (Waititi, 2019. USA); The Notebook (Szasz, 2013. Hungary); The Painted Bird (Marhoul, 2019. Czech Republic) Reading: Kirkham, V. "Benigni's Postmodern Storehouse of Culture". Beyond Life Is Beautiful. ed: Grace Russo Bullaro. Troubador Publishing. 2005. p. 152-176 Bullaro, G. R. "Life Is Beautiful and the Protection of Innocence: Fable, Fairy-tale or Just Excuses?". Beyond Life Is Beautiful. ed: Grace Russo Bullaro. Troubador Publishing. 2005. p. 225-247 6. “The Good German” After the war ended with the Nazis defeat, German filmmakers were left to deal with their guilt feelings and blame. In order to construct the spirit of the "New Germany" and a possible relief of the nation's broken conscious by illuminating acts of resistance and stories of heroism regarding German individuals. Local filmmakers brought to the screen the stories of Sophie Schull, Georg Elser, the Edelweiss Pirates group and the Rosenstrasse protests, while American Jewish filmmakers like Spielberg and Bryan Singer produced films about "Good Nazis" like Oskar Shindler and Claus von Stauffenberg. Along resistance and heroism, films like Das Boot and Mephisto delved into the dilemmas of Germans as humans failing to stand up in the wake of fear and war. Screening: Das Boot (Petersen, 1981. Germany) Other films in discussion: Valkyrie (Singer, 2008. USA); Schindler's List (Spielberg, 1993. USA); 13 Minutes (Hirschbiegel, 2015. Germany); Last Five Days (Adlon, 1982. Germany); The White Rose (Verhoeven, 1982. Germany); Mephisto (Szabo, 1980. Hungary) Reading: Holloway, D. Depravity at Sea: Das Boot and the Challenge of Coming to Terms with the Past. Bryn Mawr Thesis. 2011 7. Resistance While the Nazi and their collaborators spread throughout Europe and the East Asia, and established their ruthless dominance on oppressed communities, some still insisted to resist and push back. In search of heroism, storytellers and filmmakers dedicated their art to glorify those few. While soviet cinema heralded the heroism of partisans and the Red Army soldiers in real-life historical context - especially the battle of Stalingrad, Hollywood to re-imagine them – like in the case of the superheroes Steve Rogers (Captain America) who fought against the Nazis and even confronted Hitler in the comics or Erik Lehnsherr (Magneto fro the X-Men) a troubled Jewish boy from Auschwitz who grows up to be an avenging Nazis hunter. In this context we would ask if heroism is a myth and reflect on it’s driving force – the passion for the national and for personal revenge - violent and cruel but showed by the "good" side. Screening: Come and See (Klimov, 1985. USSR) Other film in discussion: Defiance (Zwick, 2006.USA); In Darkness (Holland, 2011. Poland); In The Fog (Loznitsa, 2012. Ukraine); Captain America: The First Avenger (Johnston, 2011. USA); X-Men: First Class (Vaughn, 2011. USA); Battle of Stalingrad (Petrov, 1949. USSR); Stalingrad: Dogs, Do You Want To Live Forever? (Wisbar, 1959. West Germany); Stalingrad (Vilsmaier, 1993. Germany); Enemy at The Gates (Annaud, 2001. USA); Stalingrad (Bondarchuk, 2013. Russia). Reading: Youngblood, D. J. "A War Remembered: Soviet Films of The Great Patriotic War". The American Historical Review Vol. 106, No. 3 (2001), pp. 839-856 8. Alternative History Can filmmakers distort the factual narrative of WW2 to the point it would be a complete fake? This is the moral question in the heart of films that are embedded in Alternative History. Can a fictional past coming to life on the big screen change the recollection of the war and maybe possibly hurt the memory of the victims? Or maybe the realization of an alternative history enables us to reflect on the "real" one, and also adopt a critical approach towards our present and future. Screening: Hunters – first episode (Weil, 2020. USA) Other films to discuss: Inglorious Bastards (Tarantino, 2009. USA); Fatherland (Menaul, 1994. USA); Man in High Castle (Spotnitz, 2015-18. USA); Raiders of The Lost Ark (Spielberg, 1981, USA); Captain America (Pyun, 1990.
Load more

Recommended publications
  • Videos, Podcasts, TV, Film, Music, Song
    APA Referencing 7th edition – References format (7): Videos, Podcasts, TV, Film, Music, Song Publication Formatting instructions Template – Reference Format Type YouTube or Family name of person or name of Hayashi, Y. [Toast It Up]. (2020, February 10. Answering to "How can I become fluent in a video from group that uploaded the video. Then foreign language?" [Video]. YouTube. https://youtu.be/AFnyQnCcJio other online username in title caps in brackets. Then sources or year of publication, month and date in [Source: Video from YouTube social media site] social media parenthesis. Then title of video in letter OR caps and italics with description in brackets. Then name of streaming Cookie Studio. (2019, July 3). Amazon – Making of [Video]. Vimeo. service in title caps. Then URL https://vimeo.com/345947153 Omit the username if it is the same as the author’s or group name [Source: Video from other online social media] Podcast or Family name of executive producer or Hasan. M. (Podcast Host). (2018-present). Deconstructed with Mehdi Hasan [Audio podcast]. single episode host of podcast. Then description in The Intercept. https://theintercept.com/podcasts/deconstructed/ in a podcast parenthesis. Then range of years in series publication in parenthesis. The title of [Source: Podcast from other online podcast website with transcripts] podcast in letter caps and italics with OR description in brackets. Then name of production company. Then URL Reber, S. (Executive Producer). (2020, March 9). The reporters (No. 4) [Audio podcast If single episode, write year, month and episode]. In Verified. Scripps Washington Bureau. https://www.radio.com/media/audio- date of broadcast in parenthesis instead of range of years.
    [Show full text]
  • January 2020 the Lighthouse Robert Eggers the Irish Film Institute
    JANUARY 2020 THE LIGHTHOUSE ROBERT EGGERS THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. THE NIGHT WINTER MENU OF IDEAS 2020 Fancy some healthy and hearty food this January? Look The Night of Ideas is a worldwide initiative, spearheaded by no further than the IFI Café Bar’s delicious winter menu, Institut Français, that celebrates the constant stream of ideas featuring new dishes including Wicklow Lamb Stew, between countries, cultures, and generations. The IFI and Vegetarian Lasagne, and Warm Winter Veg with Harissa the French Embassy are proud to present this third edition in Yoghurt and Beetroot Crisps. Book your table by emailing Ireland, the theme of which is ‘Being Alive’. For more details on [email protected] or by ringing 01-6798712. the event, please see page 15. NAME YOUR SEAT COMING SOON Parasite Naming a seat in the newly refurbished Cinema 1 is a Coming to the IFI in February are two of the year’s most fantastic way to demonstrate your own passion for film, anticipated new releases: Bong Joon Ho’s Parasite, winner of celebrate the memory of someone who loved the IFI, or the 2019 Palme d’Or and hotly tipped for Oscar glory, follows the gift a unique birthday or anniversary present to the film sinister relationship between an unemployed family and their fan in your life! The only limit is 50 characters and your patrons; and Céline Sciamma’s stunning Portrait of a Lady on Fire, imagination.
    [Show full text]
  • Pasdecrisepourles Locauxd'entreprises
    Big Caesar Chicken Salad Auch als Chicken McWrap® Chicken Caesar Ab 03.02.2020 /mcdlu 4Käsegipfel Riffelkartoffeln As long as stocks last. ©2020McDonald’s Coca-Cola ist eineeingetragene Schutzmarkeder TheCoca-ColaCompany. N°2832 MERCREDI Pas de crise pour les 29 JANVIER 2020 Europe 9 Le Portugal ne sera plus un eldorado pour les retraités locaux d'entreprises Le dynamisme sur le marché de l'immobi- cinq ans. Même constat pour les surfaces lier d'entreprise au Grand-Duché ne se dé- commerciales, portées par des projets tels ment pas. Selon des chiffres présentés hier le centre commercial Cloche d'Or ou le com- par JLL, la prise en occupation des bureaux plexe Royal-Hamilius. Là, la prise en occu- en 2019 a dépassé de 20 % la moyenne sur pation s'est carrément envolée. PAGE 12 Ruée sur les masques au Luxembourg Cinéma 15-26 Avant «#MeToo», scandale à la télévision américaine Sports 39 Danel Sinani attendra l'été pour rejoindre l'Angleterre Météo 40 La demande en masques de protection a largement augmenté au Luxembourg. Certaines pharmacies sont en rupture de stock. MATIN APRÈS-MIDI LUXEMBOURG Après des cas signalés 100 morts en Chine et ne cesse de cies ont été prises d'assaut pour en France et en Allemagne, la progresser, à tel point que le des demandes de masques de pro- 2° 5° crainte du coronavirus gagne le Grand-Duché a relevé son niveau tection. Des établissements sont Luxembourg. Ce virus a fait plus de d'alerte. Conséquence, les pharma- déjà en rupture de stock. PAGE 3 2 Actu MERCREDI 29 JANVIER 2020 / LESSENTIEL.LU «Igor le Russe» en box blindé Un espoir du cinéma français arrêté MADRID L'Espagne juge depuis MARSEILLE Révélé par hier dans un box blindé un son rôle dans le film «Shé- meurtrier présumé surnommé hérazade», Dylan Robert, «Igor le Russe», condamné 20 ans, dort en prison.
    [Show full text]
  • FILMS WORTH TALKING ABOUT 56 Days That Will Rock Your Cinema World!
    10 JAN 20 5 MAR 20 1 | 10 JAN 20 - 5 MAR 20 88 LOTHIAN ROAD | FILMHOUSECINEMA.COM FILMS WORTH TALKING ABOUT 56 days that will rock your cinema world! Well, here we are again… it’s Awards season! I was reminded of such by a communication that came my way from AMPAS (the Oscar® people) listing nine categories’ shortlists of potential nominees. Now, they’ve been doing that shortlist thing with Foreign Language films for quite some time – there’s a lot of films out there in the world, it would be rather too much for the Academy members to have to watch them all! – but, to my knowledge, they’ve not before done it with any other category. It may be it’s for the same reason of sheer volume as above, but I guess what it also does is allows a greater number of films a reason to mention their Academy Award status in their advertising. I can see it now, “Academy Award Nomination shortlisted…” written on the poster. Where will it all end I wonder, “Academy Award Nomination eligible…”? As luck would have [nothing to do with] it, one of the films on the Foreign Language short list – which at this point in time seems the overwhelming favourite – is Bong Joon Ho’s utterly brilliant Parasite, which takes its place alongside a programme of films that is simplythe best line-up of new cinema I’ve seen in a long time. There’s not just the aforementioned South Korean masterpiece, there’s Sam Mendes’ extraordinary ‘one-take’ wonder 1917 (google ‘1917 behind the scenes featurette’ and prepare to simply have to see this film); Taika (‘Wilderpeople’) Waititi’s WWII, Nazi Germany-set, Jojo Rabbit; Armando Iannucci’s breathless Dickens, The Personal History of David Copperfield; Robert Egger’s uniquely bonkers, fog-bound The Lighthouse; Kidman, Robbie and Theron taking on the Fox News patriarchy in Bombshell; and to cap it all off, and possibly the best of the lot, Céline Sciamma’sexquisite Portrait of a Lady on Fire.
    [Show full text]
  • Final Nominations List the National Academy of Recording Arts & Sciences, Inc
    NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 63rd Annual GRAMMY® Awards For recordings released during the Eligibility Year September 1, 2019 through August 31, 2020 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 8. SAVAGE Record Of The Year Megan Thee Stallion Featuring Beyoncé Award to the Artist and to the Producer(s), Recording Engineer(s) Beyoncé & J. White Did It, producers; Eddie “eMIX” and/or Mixer(s) and mastering engineer(s), if other than the artist. Hernández, Shawn "Source" Jarrett, Jaycen Joshua & Stuart White, engineers/mixers; Colin Leonard, mastering 1. BLACK PARADE engineer Beyoncé Beyoncé & Derek Dixie, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer 2. COLORS Black Pumas Adrian Quesada, producer; Adrian Quesada, engineer/mixer; JJ Golden, mastering engineer 3. ROCKSTAR DaBaby Featuring Roddy Ricch SethinTheKitchen, producer; Derek "MixedByAli" Ali, Chris Dennis, Liz Robson & Chris West, engineers/mixers; Glenn A Tabor III, mastering engineer 4. SAY SO Doja Cat Tyson Trax, producer; Clint Gibbs & Kalani Thompson, engineers/mixers; Mike Bozzi, mastering engineer 5. EVERYTHING I WANTED Billie Eilish Finneas O'Connell, producer; Rob Kinelski & Finneas O'Connell, engineers/mixers; John Greenham, mastering engineer 6. DON'T START NOW Dua Lipa Caroline Ailin & Ian Kirkpatrick, producers; Josh Gudwin, Drew Jurecka & Ian Kirkpatrick, engineers/mixers; Chris Gehringer, mastering engineer 7. CIRCLES Post Malone Louis Bell, Frank Dukes & Post Malone, producers; Louis Bell & Manny Marroquin, engineers/mixers; Mike Bozzi, mastering engineer © The Recording Academy 2020 - all rights reserved 1 Not for copy or distribution 63rd Finals - Press List General Field Category 2 8.
    [Show full text]
  • The Hitler Youth: Blind Fanaticism
    The Hitler Youth: Blind Fanaticism Janessa Hansen Senior Division Individual exhibit Student Composed Words: 500 Process Paper Word Count: 500 Process Paper I’ve always had an interest in The Holocaust. I’ve watched films and read books on it for many years. Last summer my grandpa and I were watching a documentary on National Geography about The Hitler Youth. It was fascinating to me how millions of children could believe the ridiculous rhetoric the Nazis preached. I decided it would be a fascinating project and proceeded to rid of my research from my old topic I had thought of. To begin, I started with doing background research. I learned some interesting information about how the group was started and what kind of activities they took part in from The Holocaust Memorial Museum and books. After some time, I decided I should try to find books written by people who were actually in the Hitler Youth, and found quite a few. After that, I began researching how the Hitler Youth was able to thrive. By that time I had established that the barrier they broke through, which was their ignorance and prejudice, so I started researching how they were able to break through that barrier. Using this knowledge, I looked for textbooks the Nazis had used for the Hitler Youth to teach them, and I also looked at education standards at the time. I looked at letters and diaries written by the Hitler Youth at the time to understand how their feelings and perspectives, and how those thoughts progressed after the war.
    [Show full text]
  • PRESS Graphic Designer
    © 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer .
    [Show full text]
  • Jojo Rabbit (Dir: Taika Waititi, 2019)
    The past is never dead. It's not even past NOT EVEN PAST Search the site ... Film Review – Jojo Rabbit (Dir: Taika Waititi, 2019) Like 0 Tweet by Jon Buchleiter “Jojo Rabbit” is deeply imbued with irony. The lm joins a long lineage of lms using humor to satirize Nazi Germany. Although Taika Waititi treads a worn path in this respect, “Jojo” tells a story with a much younger and more innocent protagonist than Mel Brooks’ “The Producers” or Quentin Tarantino’s “Inglorious Basterds.” Waititi adapted “Jojo” from Christine Leunens’ Caging Skies, which is itself a stirring story of World War II and the power of disinformation. However, Waititi, in signature style, employs a mixture of sarcasm and sadness to tell the story of a boy learning about love and the harms of blind hatred. Rather than try to tackle all of the Third Reich’s atrocities, Waititi instead hones in on the dangers of demagogy through the eyes of bright-eyed, ten-year- old Johannes “Jojo” Betzler (Roman Grin Davis). Roman Grin Davis in Jojo Rabbit, © 2019 Twentieth Century Fox Film Corporation All Rights Reserved (via IMDB) The opening scene shows Jojo, eagerly preparing to attend a Hitler Youth training camp in 1944. Talking to his reection in the mirror, Jojo speaks of how he will “become a man” today. Yet, for all his bluster, he is riddled with nerves as he heads off. At camp, his reluctance to to demonstrate his bravery by killing a bunny earns him the mocking moniker Jojo Rabbit. During times of doubt, Jojo turns to his imaginary friend, a cartoonish Adolf Hitler (played by Taika Waititi himself) for encouragement.
    [Show full text]
  • The 2020 Investor Day Programming Fact Sheet
    THE 2020 INVESTOR DAY PROGRAMMING FACT SHEET ©Disney Today at The Walt Disney Company’s Investor Day event, Lucasfilm President Kathleen Kennedy announced an impressive number of exciting Disney+ series and new feature films destined to expand theStar Wars galaxy like never before. Introducing the Disney+ slate, Kennedy said, “We have a vast and expansive timeline in the Star Wars mythology spanning over 25,000 years of history in the galaxy—with each era being a rich resource for storytelling. Now with Disney+, we can explore limitless story possibilities like never before and fulfill the promise that there is truly a Star Wars story for everyone.” Among the 10 projects announced for Disney+ is “Obi-Wan Kenobi,” starring Ewan McGregor, with Hayden Christensen returning as Darth Vader, in what Kennedy called, “the rematch of the century.” Also announced are two new series from Jon Favreau and Dave Filoni, off-shoots of the multiple Emmy®-winning “The Mandalorian.” “Rangers of the New Republic” and “Ahsoka,” a series featuring the fan-favorite character Ahsoka Tano, will take place in “The Mandalorian” timeline. Kennedy announced that the next Star Wars feature film, releasing in December 2023, will be “Rogue Squadron,” which will be directed by Patty Jenkins of the “Wonder Woman” franchise. In July 2022, the next installment of the “Indiana Jones” franchise premieres, starring Harrison Ford, who reprises his iconic role. The film is directed by James Mangold. Following are the announced projects, listed in announcement order under the Disney+ and feature film headers: DISNEY+ Ahsoka After making her long-awaited, live-action debut in “The Mandalorian,” Ahsoka Tano’s story, written by Dave Filoni, will continue in a limited series, Ahsoka, starring Rosario Dawson and executive produced by Dave Filoni and Jon Favreau.
    [Show full text]
  • Screenings Upcomings Berlinale LINE-UP
    2015 screenings HEAD OFFICE eFM oFFice AFeriM! by Radu Jude page 6 BETA CINEMA GmbH Martin-gropius-Bau 13 MinUTes by Oliver Hirschbiegel page 8 Gruenwalder Weg 28d stand number 27 D-82041 Oberhaching Phone +49 30 209159 - 452 ZUricH by Sacha Polak page 10 Phone +49 89 673469 - 828 UMriKA by Prashant Nair page 12 Fax +49 89 673469 - 888 1992 by Giuseppe Gagliardi page 14 [email protected] THe famoUs Five 4 by Mike Marzuk page 16 www.betacinema.com BiBi & TinA 2 by Detlev Buck page 18 WALTer by Anna Mastro page 20 We Are yoUng. We Are sTrong. by Burhan Qurbani page 22 BerLinALe LINE-UP KAFKA’s THe BUrroW by Jochen Alexander Freydank page 24 THe FAreWeLL PArTy by Sharon Maymon and Tal Granit page 26 LAByrinTH oF Lies by Giulio Ricciarelli page 28 ToUr De Force by Christian Zübert page 30 THe LiTTLe MeDic by Peter Claridge page 32 UPcoMings coLoniA by Florian Gallenberger page 36 gHosTHUnTers – on icy TrAiLs by Tobi Baumann page 38 coconUT Hero by Florian Cossen page 40 THe KinD WorDs by Shemi Zarhin page 42 THe DoLL in THe ceiLing by Kjersti G. Steinsbø page 44 THe Weather insiDe by Isabelle Stever page 46 www.betacinema.com 2 For further information, including trailers, please visit our website www.betacinema.com 3 By screening scHeDULe By FiLM day AFeriM! Thursday Feb 5th 3:30 p.m. CinemaxX 10 | PRIVATE* Thursday Feb 5th AFeriM! 3:30 m.m. CinemaxX 10 | PRIVATE* Sunday Feb 8th 4:45 p.m. CinemaxX 10 | PRIVATE* Wednesday Feb 11th 9:00 a.m.
    [Show full text]
  • Nazi German Filmography & Tvography
    Nazi German Filmography & TVography-1 Nazi German Filmography Compiled from publications by Sabine Hake, German National Cinema, 2nd ed. (2008), and Axel Bangert, The Nazi Past in Contemporary Germany (2014). Tended to exclude Holocaust related, but if a film was set in a concentration camp with a non-Jewish subject focus, I included here. I have a separate Holocaust filmography. I did include costume dramas, fictional characters set in historical events, and films claiming to be a historical account. Some documentaries are included if I bumped into them or found them referenced by Bangert and Hake. (21 July 2018) Film Title (English titles listed Year Director and Description. ahead of original German titles) 12th Man, The (Den 12. 2018 Dir. Harald Zwart. Inspired by a true story of Jan Baalsrud’s escape from the Nazis after mann) having been captured as a resistance fighter. According to the Wiki description this film emphasizes Baalsrud’s rescuers. 13 Minutes (Elser – Er 2015 Dir. Oliver Hirschbiegel. “…tells the true story of George Elser’s failed attempt to hätte die Welt assassinate Adolf Hitler in November 1939.” https://en.wikipedia.org/wiki/13_Minutes verändert) 2 or 3 Things I know 2005 Dir. Malte Ludin. “… is a documentary film in which German director Malte Ludin examines about Him (2 oder 3 the impact of Nazism in his family. Malte's father, Hanns Ludin, was the Third Reich's Dinge, die ich von ihm ambassador to Slovakia. As such, he signed deportation orders that sent thousands of Jews weiβ) to Auschwitz. Hanns Ludin was executed for war crimes in 1947.” https://en.wikipedia.org/wiki/2_or_3_Things_I_Know_About_Him A Time to Love and a 1958 Dir.
    [Show full text]
  • THE GERMAN SOCIETY of PENNSYLVANIA Elser (13 Minuten)
    ploded at 9:20 p.m., killing 8 and injuring over 60 others. Elser only made one mis- take. He tried to get into Switzerland at a regular border crossing instead of making a THE GERMAN SOCIETY OF Grenzübertritt über die grüne Grenze. He was arrested at the border crossing and PENNSYLVANIA was soon charged with the assassination attempt. Der Film Friday Film Fest Series This movie is the second serious attempt to elevate the reputation of Elser in the ranks of the German Widerstandsbewegung and place him on an equal footing with Stauffenberg. One could actually argue that Elser should be in a special category all by himself. He saw the coming disaster a year before the beginning of the war, unlike Stauffenberg who attempted his plot five years into a war at a point where millions of people had already been killed and the coming German defeat was obvious to every- one. Elser’s foresight and civil courage sets him apart from most other Germans of that time and provides solace to the Nachgeborenen that German resistance to Hitler was not a complete oxymoron. But does this film succeed in elevating the reputation of this working class man to the level of Stauffenberg and his colleagues? Despite a great performance by Christian Friedel as Elser the movie spends perhaps too much time on Elser’s biography, including his time as a dashing young man at Lake Con- stance who enjoys the company of women and in particular his love affair with a married woman. More relevant is the treatment of his time in his Heimatdorf Königs- brunn where he witnessed the slow Nazi takeover of communal life auf der Schwäbischen Alb.
    [Show full text]