An Inverted Detective Thriller: Henry Ries and the Quakers’ Rescue of Stefanie Ries from Nazi Germany, 1939–41

Despite the weaknesses of domestic fascist movements, in the context of the rise of Nazi Germany and the presence of antisemitic propaganda of diverse origin Edinburgh's Jewish leaders took the threat seriously. Their response to the fascist threat was influenced by the fact that Edinburgh's Jewish community was a small, integrated, and middle-class population, without links to leftist groups or trade unions. The Edinburgh community closely followed the approach of the Board of Deputies of British Jews in relation to the development of fascism in Britain, the most significant aspect of which was a counter-propaganda initiative. Another important aspect of the response in Edinburgh was the deliberate cultivation of closer ties to the Christian churches and other elite spheres of Scottish society. Despite some unique elements, none of the responses of Edinburgh Jewry, or indeed the Board of Deputies, were particularly novel, and all borrowed heavily from established traditions of post-emancipation Jewish defensive strategies.

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Death of a ‘jewish Science’? Psychoanalysis in Nazi Germany

Psychoanalysis and History ◽

10.3366/pah.2001.3.2.211 ◽

2001 ◽

Vol 3 (2) ◽

pp. 211-225 ◽

Cited By ~ 1

Author(s):

Geoffrey Cocks

Keyword(s):

Nazi Germany

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Driven into Paradise: The Musical Migration from Nazi Germany to the United States . Reinhold Brinkmann , Christoph Wolff .

Journal of the American Musicological Society ◽

10.1525/jams.2000.53.3.03a00100 ◽

2000 ◽

Vol 53 (3) ◽

pp. 643-649

Author(s):

Joy H. Calico

Keyword(s):

United States ◽

The United States ◽

Nazi Germany

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Make Love at War? Representing Gender and Memory in the Soviet Estonian Film Dark Windows (Pimedad aknad, Tõnis Kask, 1968)

Baltic Screen Media Review ◽

10.2478/bsmr-2018-0002 ◽

2018 ◽

Vol 6 (1) ◽

pp. 20-37

Author(s):

Liis Jõhvik

Keyword(s):

Everyday Life ◽

Young Women ◽

Interpersonal Relations ◽

Nazi Germany ◽

National Narrative ◽

Moral Choices ◽

The One ◽

Falling In Love ◽

The Way

Abstract Initially produced in 1968 as a three-part TV miniseries, and restored and re-edited in 2008 as a feature-length film, Dark Windows (Pimedad aknad, Tõnis Kask, Estonia) explores interpersonal relations and everyday life in September 1944, during the last days of Estonia’s occupation by Nazi Germany. The story focuses on two young women and the struggles they face in making moral choices and falling in love with righteous men. The one who slips up and falls in love with a Nazi is condemned and made to feel responsible for the national decay. This article explores how the category of gender becomes a marker in the way the film reconstructs and reconstitutes the images of ‘us’ and ‘them’. The article also discusses the re-appropriation process and analyses how re-editing relates to remembering of not only the filmmaking process and the wartime occupation, but also the Estonian women and how the ones who ‘slipped up’ are later reintegrated into the national narrative. Ultimately, the article seeks to understand how this film from the Soviet era is remembered as it becomes a part of Estonian national filmography.

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