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How do we remember the Holocaust through films
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Hollywood films have acted as teaching tools over the years that have compelled society to reflect and think about certain events in history and perhaps current affairs in the world, as the Director Anker stated, "it's easy to be cynical that so much of the world learns their history through Hollywood, but it's a fact of life."1 The Holocaust, however, was such a controversial, incomprehensible and dark moment in history that filmmakers in Hollywood struggled to convey the true nature of the atrocities on the silver screen as, "Filmmakers and film critics confronting the Holocaust face a basic task- finding an appropriate language for that which is mute or defies visualization... the development of a suitable cinematic language for a unique …show more content…
The film was controversial due to its use of some of the boldest forms of black humour for an American film on such a current desolate topic in 1942. Film historian Theodore Huff wrote in his book 'Index to the Films of Ernst Lubitsch', "the Lubitsch burlesque, laid in Nazi-invaded Warsaw, was called callous, a picture of confusing moods, lacking in taste, its subject not suitable for fun making. While others felt that such merciless satire and subtle humour were good anti-Nazi propaganda, the picture was, perhaps, ill-timed.10" The film created such an upheaval in the press, Lubitsch himself felt compelled to comment on how he viewed the film, "When in 'To Be or Not to Be' I have referred to the destruction of Warsaw, I have shown it in all seriousness; the commentation under the shots of the devastated Warsaw speaks for itself and cannot leave any doubt in the spectator’s mind what my point of view and attitude are toward those acts of horror. What I have satirised in this picture are the Nazis and their ridiculous ideology.11" Compared to Chaplin's political satire film 'The Great Dictator' (1940), Lubitsch's film was taken in a completely different light most likely due to the timing of its release- Mid-World
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press: Princeton and Oxford, 2004.
Society tends to associate propaganda films with issues such as Nazi Germany and their film messages for their country; however, it is also possible for small independent companies, groups of like-minded people and individuals to use the media of film to incorporate messages for our society (The Independent, 2010). These messages are often in relation to changes that individuals should make in order to improve the standards by which they live their lives and changes to everyday habits that will benefit the individual, the individual’s family, a group of individuals or even a single person (Barnhisel and Turner, 2010).
I would like to point out the poignant cinematography, which was very innovative for its time. The narration and the filming introducing what was about to be uncovered must have been extremely moving in a melancholy way. The mise-en-scène is both compelling and haunting, each frame cleverly editied. Resnais experimented with what is known as the long shot, and the 360 degree shot, to make the voyeur very aware of the unbalanced composition. The panning of the film tracking back from Auschwitz brings us a close up, of barbed wire. This clearly suggests that this isn't what it appears to be. Resnais films the past in black and white, and the then present in colour. The ambiance is chilling, and the composed background music unique. Where normally dramatic loud music would be used to express the abonimation and enormity of the most horrendous scenes, Resnais did quite the contrary.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
[1] Within the last few decades, we have generated a great number of “historical” films reaching the American public. With these “historical” films come the question of whether or not the film portrayed history in an accurate manner; if not, why were the facts manipulated the way that they were. Unfortunately, this question is usually answered in the negative, and the audience is left with a fictional account of a factual happening, thereby giving the viewing public mixed messages concerning the issues raised within the film. Film used in this manner can be a dangerous tool in the hands of powerful people with agendas and ulterior motives.
One paper had more influence on all other newspapers during this time. The New York Times was the primary source wartime newspaper. Their lack of coverage influenced the coverage from other newspapers (Max Frankel).The years of the Holocaust was an experience people will never forget. Everyone is involved including those who suffered in Eastern Europe as well as those who were informed and those who were under informed, to the billions of lives living and learning about it today. In the time of the Holocaust (1933-1945) The New York Times under informed the American public and made them blind to the events occurring in Eastern Europe; their negligence impacted the Holocaust because America could have done more to stop the atrocities.
Sterritt, David. “HOLLYWOOD'S HOLOCAUST”. Tikkun 24.3 (2009): 60-62. Literary Reference Center. Web. 10 Oct. 2013.
Witte viewed Nazi Propaganda as a functional whole claiming, “One either accepts it as a whole or misunderstands it altogether” (NGC 30). Rentschler agrees that “the [Nazi] era’s many genre films maintained the appearance of escapist vehicles and innocent recreations while functioning within a larger program” (16). Similarly, Schulte-Sasse finds that “film may have been more useful to the state in its management of desire than its management of idea” (11).
Last semester my documentary production professor told my classmates and I to avoid making films that were too much like Holocaust or civil rights films. This really struck me as an almost cold statement, however this semester in both this class and the film and Holocaust class that I took I began to understand what he meant. After reading much of Aaron Kerner’s book I saw even more, it wasn’t a statement on the subject matter but the filmic techniques that have been overused in the genres. The most burnt out are the tropes within each film; like the crafty jew trope, the jew as a victim, or as a hero, and the usage of naziploitation. These are all found in films revolving around the Holocaust and the film Europa Europa (Agnieska Holland, 1990)
My name is Eva Berlinski. I’m only 13 years old and I was brought up
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Films are necessary in our time period because the human eye can articulate the message intended through sight allowing visual imagination to occur. In the book, world 2 by Max Brooks, he creates a character by the name Roy Elliot who was a former movie director. Roy Elliot manages to make a movie titled “Victory at Avalon: The Battle of the Five Colleges” and some how it goes viral. Similarly, Frank Capra’s film, “Why we Fight” expresses a sense of understanding the meaning of wars. Films do not inevitably portray truth because they display what the film director views as important and beneficial for people to know.
Fyne, Robert. The Hollywood propaganda of World War II. Metuchen, N.J.: Scarecrow Press, 1994. Print.
In Defiance, the deviations from the historical record are used to emphasis certain aspects of the movie. In the beginning sequence the audience can see how there is a mesh of video of Hitler imposed with footage that the director made to look older. If a person had never seen the original footage they would not see the subtle mixture of fact and fiction. But this practice raises the question should directors be able to add or subtract from the historical accuracy of a movie, especially one with a subject matter such as the Holocaust. In the case of movies that are based on the real life experiences of individuals the deviation makes the matter more accessible to a large group of people. There are many aspects of someones life are not easily readable when place on the screen. In order for them to be understood some liberty must be given to the director to make them understandable to someone who may not know the culture or the traditions behind the actions. In a scene of Defiance Zus, played by Liev Schreibe...
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...