Troubled Aesthetics: Jewish Bodies in Post-Holocaust Film

2020 ◽  
pp. 439-457
Author(s):  
Jessica Lang
Keyword(s):  
Holocaust Film

EMOTIONAL RESPONSES TO A TELEVISED NUCLEAR HOLOCAUST FILM

1986 ◽  
Vol 13 (2) ◽  
pp. 257-277 ◽  
Author(s):  
JOANNE CANTOR ◽  
BARBARA J. WILSON ◽  
CYNTHIA HOFFNER
Keyword(s):  
Emotional Responses ◽  
Holocaust Film

Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps

2008 ◽  
Vol 18 (1) ◽  
pp. 109-134
Author(s):  
David Bathrick
Keyword(s):  
Subject Matter ◽  
Cultural Landscape ◽  
Third Reich ◽  
The Third ◽  
Feature Films ◽  
The Holocaust ◽  
The Subject ◽  
The Third Reich ◽  
Holocaust Film ◽  
Diary Of Anne Frank

AbstractThe period prior to the 1970s has frequently been portrayed internationally as one of public disavowal of the Jewish catastrophe politically and cinematically and as one in which there was a dearth of filmic representations of the Holocaust. In addition to the Hollywood productionsThe Diary of Anne Frank(1960), Stanley Kramer’sJudgment at Nuremberg(1961) and Sidney Lumet’sThe Pawnbroker(1965), one often spoke of just a few East and West European films emerging within a political and cultural landscape that was viewed by many as unable or unwilling to address the subject. This article takes issue with these assumptions by focusing on feature films made by DEFA between 1946 and 1963 in East Berlin’s Soviet Zone and in East Germany which had as their subject matter the persecution of Jews during the Third Reich.

“It’s Probably Going to Be the Hardest Film to Make”

2019 ◽  
pp. 13-40
Author(s):  
Robert P. Kolker ◽  
Nathan Abrams
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Sigmund Freud ◽  
Stanley Kubrick ◽  
Long Period ◽  
Holocaust Film ◽  
Period Of Gestation

Stanley Kubrick wanted to film Arthur Schnitzler’s Traumnovelle since the early 1950s. His interest lay in Schnitzler’s fascination with sexuality and domesticity. The intersection of Schnitzler’s writings with those of Sigmund Freud was of particular interest. Kubrick’s favorite director, Max Ophüls, had adapted some of Schnitzler’s plays, and this also attracted the author to Kubrick. Even though he kept putting off the making of the film, its ideas percolated into those films he did make, from Fear and Desire through The Shining. During this long period of gestation, Kubrick entertained many ideas for writers and stars. At one point, he wanted to make it as a comedy. Only after the failure to get his Holocaust film or his science fiction film, A.I.: Artificial Intelligence, made did he finally turn to directing Eyes Wide Shut.

scholarly journals Sexualization of Female Perpetration in Fictional Holocaust Films: A Case Study of The Reader (2008)

Genealogy ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 52
Author(s):  
Sabine Elisabeth Aretz
Keyword(s):  
Female Victims ◽  
Female Perpetration ◽  
The Holocaust ◽  
Female Perpetrators ◽  
History Of ◽  
The Subject ◽  
Holocaust Film ◽  
Holocaust Films ◽  
The One

The publication of Bernhard Schlink’s novel The Reader (1995) sparked conversation and controversy about sexuality, female perpetrators and the complexity of guilt regarding the Holocaust. The screen adaptation of the book (Daldry 2008) amplified these discussions on an international scale. Fictional Holocaust films have a history of being met with skepticism or even reject on the one hand and great acclaim on the other hand. As this paper will outline, the focus has often been on male perpetrators and female victims. The portrayal of female perpetration reveals dichotomous stereotypes, often neglecting the complexity of the subject matter. This paper focuses on the ways in which sexualization is used specifically to portray female perpetrators in The Reader, as a fictional Holocaust film. An assessment of Hanna’s relationship to Michael and her autonomous sexuality and her later inferior, victimized portrayal as an ambiguous perpetrator is the focus of my paper. Hanna’s sexuality is structurally separated from her role as a perpetrator. Hanna’s perpetration is, through the dichotomous motif of sexuality throughout the film, characterized by a feminization. However, this feminization entails a relativization of Hanna’s culpability, revealing a pejorative of her depiction as a perpetrator. Consequently, I argue that Hanna’s sexualized female body is constructed as a central part of the revelation of her perpetration.

Staging Memory and Trauma in French and Italian Holocaust Film

2006 ◽  
Vol 97 (3-4) ◽  
pp. 461-482 ◽  
Author(s):  
Dana Renga
Keyword(s):  
Memory And Trauma ◽  
Holocaust Film

The Holocaust Film Sourcebook

2007 ◽  
Vol 40 (1) ◽  
pp. 190-192
Author(s):  
William B. Russell
Keyword(s):  
The Holocaust ◽  
Holocaust Film

The age of innocence? Child narratives and Italian Holocaust films

Modern Italy ◽  
2012 ◽  
Vol 17 (2) ◽  
pp. 197-208 ◽  
Author(s):  
Giacomo Lichtner
Keyword(s):  
Historical Film ◽  
The Holocaust ◽  
Child Narratives ◽  
The Age Of Innocence ◽  
Holocaust Film ◽  
Holocaust Films ◽  
Post War ◽  
Humanitarian Values ◽  
A Site ◽  
The Relationship

This article critically assesses the use of children as narrators in two recent Italian Holocaust films: Roberto Benigni's La Vita é Bella (1997) and Ettore Scola's Concorrenza Sleale (2001). The analysis places the films and their choice of narrator in the context of the child in European Holocaust film and argues that the child's perspective, often used to qualify the actions of adult characters and cast a questioning or even accusatory gaze on them, is used in these Italian films to perform the opposite function. Focusing on cinema as a site of memory and as a site of emotions, the article suggests that Italian filmmakers use children to infantilise the audience, induce pity rather than reflection, and discuss Italy's role in the Holocaust while reassuring audiences of the life-affirming, democratic and humanitarian values of post-war Italians. This political and historiographical use of the child's emotions not only reinforces the need to insist on the revision of the brava gente myth, but also invites a thorough reconsideration of the complexity of the relationship between the historical film and the emotions.

scholarly journals Son of Saul and the Crisis of Holocaust Film

2016 ◽  
Vol 40 (3) ◽  
Author(s):  
Steven Alan Carr
Keyword(s):  
Holocaust Film
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