The Shoah on Screen


Book Description

This publication considers how cinema, as a major modern art form, has covered topics relating to the Holocaust in documentaries and fiction, historical reconstructions and more symbolic films, focusing on the question of realism in ethical and artistic terms. It explores a range of issues, including whether cinema is an appropriate method for informing people about the Holocaust compared to other media such as CD-ROMs, video or archive collections; whether it is possible to inform and appeal to the emotions without being explicit; and how the medium can nurture greater sensitivity among increasingly younger audiences which have been inured by the many images of violence conveyed in the media. Films discussed include Schindler's List, Life is Beautiful, The Pianist, Sophie's Choice, Shoah, Au revoir les enfants, The Great Dictator and To Be or Not to Be.




The shoah on screen - Representing crimes against humanity


Book Description

In attempting to portray the Holocaust and crimes against humanity on the big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg's Schindler's List, depicting reality in all its details, and more symbolic films such as Roberto Benigni's Life is beautiful. Some films have been very controversial, and it is important to understand why.Is cinema the best way of informing the younger generations about what took place, or should this perhaps be left, for example, to CD-Roms, videos or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increasingly younger audiences, inured by the many images of violence conveyed in the media. Anne-Marie Baron.







Film and the Holocaust


Book Description

When representing the Holocaust, the slightest hint of narrative embellishment strikes contemporary audiences as somehow a violation against those who suffered under the Nazis. This anxiety is, at least in part, rooted in Theodor Adorno's dictum that "To write poetry after Auschwitz is barbaric." And despite the fact that he later reversed his position, the conservative opposition to all "artistic" representations of the Holocaust remains powerful, leading to the insistent demand that it be represented, as it really was. And yet, whether it's the girl in the red dress or a German soldier belting out Bach on a piano during the purge of the ghetto in Schindler's List, or the use of tracking shots in the documentaries Shoah and Night and Fog, all genres invent or otherwise embellish the narrative to locate meaning in an event that we commonly refer to as "unimaginable." This wide-ranging book surveys and discusses the ways in which the Holocaust has been represented in cinema, covering a deep cross-section of both national cinemas and genres.




The Holocaust in Central European Literatures and Cultures


Book Description

Relating the Holocaust to poetic and aesthetic phenomena has often been considered taboo, as only authentic testimony, documents, or at least ‘unliterary’, prosaic approaches were seen as appropriate. However, from the very beginning of Holocaust literature and culture, there were tendencies towards literarization, poetization, and ornamentalization. Nowadays, aesthetic approaches—also in provocative, taboo-breaking ways—are more and more frequently encountered and seen as important ways to evoke the attention required to keep the cataclysm alive in popular memory. The essays in this volume use examples predominantly from Polish, Czech, and German Holocaust literature and culture to discuss this controversial subject. Topics include the poetry of concentration camp detainees, lyrical poetry about the Holocaust, poetic tendencies in narrative literature and drama, ornamental prose about the Holocaust, and the devices and functions of aestheticization in Holocaust literature and culture.




The Holocaust in Czechoslovak and Czech Feature Films


Book Description

Šárka Sladovníková analyzes the depiction of the Holocaust in Czechoslovak and Czech Feature Films and the relevant literary pretexts. While she charts the social and cultural framework in which the films were made and how this framework changed, she also focuses on the cinematic language, the composition of and narration in each film (e.g., the depiction of the war and the Shoah as a narratively closed versus a narratively open event), genre aspects of the films (e.g., the use of comedy and humor), convention and innovation in presenting motifs and characters (the division of gender roles, the character of the “good German”). Particular attention is paid to the portrayal of stereotypes and countertypes in the films, where already well-known images, situations, and backdrops are repeated and which meet viewers’ expectations or, in contrast, which form countertypes and countersituations that go against the grain. Many of the films analyzed are adaptations of literary works. Therefore, this book is also a contribution to the rapidly developing field of adaptation studies.




European Pack for Visiting Auschwitz-Birkenau Memorial and Museum


Book Description

Taking groups of students To The Auschwitz-Birkenau Memorial and Museum is a heavy responsibility, but it is a major contribution to citizenship if it fosters understanding of what Auschwitz stands for, particularly when the last survivors are at the end of their lives. it comes with certain risks, however. This pack is designed for teachers wishing to organise student visits to authentic places of remembrance, and For The guides, academics and others who work every day with young people at Auschwitz. There is nothing magical about visiting an authentic place of remembrance, and it calls for a carefully thought-out approach. To avoid the risk of inappropriate reactions or the failure to benefit from a large investment in travel and accommodation, considerable preparation and discussion is necessary before the visit and serious reflection afterwards. Teachers must prepare students for a form of learning they may never have met before. This pack offers insights into the complexities of human behaviour so that students can have a better understanding of what it means to be a citizen. How are they concerned by what happened at Auschwitz? is the unprecedented process of exclusion that was practised in the Holocaust still going on in Europe today? in what sense is it different from present-day racism and anti-Semitism? the young people who visit Auschwitz in the next few years will be witnesses of the last witnesses, links in the chain of memory. Their generation will be the last to hear the survivors speaking on the spot. The Council of Europe, The Polish Ministry of Education And The Auschwitz-Birkenau Memorial and Museum are jointly sponsoring this project aimed at preventing crimes against humanity through Holocaust remembrance teaching.




Catalogue of Publications


Book Description







War on the Silver Screen


Book Description

Americans have been almost constantly at war since 1917. In addition to two world wars, the United States has fought proxy wars, propaganda wars, and a “war on terror,” among others. But even with the constant presence of war in American life, much of what Americans remember about those conflicts comes from Hollywood depictions. In War on the Silver Screen Glen Jeansonne and David Luhrssen vividly demonstrate how war movies have burned the images and impressions of those wars onto the American psyche more concretely than has the reality of the wars themselves. That is, our feelings about wars are generated less by what we learn through study and discourse than by powerful cinematic images and dialogue. Films are compressed, intense, and immediate and often a collective experience rather than a solitary one. Actors and drama provide the visceral impact necessary to form perceptions of history that are much more enduring than those generated by other media or experiences. War on the Silver Screen draws on more than a century of films and history, including classics such as All Quiet on the Western Front, Apocalypse Now, and The Hurt Locker, to examine the legacy of American cinema on twentieth- and twenty-first-century attitudes about war.