Filming The End Of The Holocaust

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Filming the End of the Holocaust considers how the US Government commissioned the US Signal Corps and other filmmakers to document the horrors of the concentration camps during the April-May 1945 liberation. The evidence of the Nazis' genocidal actions amassed in these films, some of them made by Hollywood luminaries such as John Ford and Billy Wilder, would go on to have a major impact at the Nuremberg Trials; they helped to indict Nazi officials as the judges witnessed scenes of torture, human experimentation and extermination of Jews and non-Jews in the gas chambers and crematoria. These films, some produced by the Soviets, were integral to the war crime trials that followed the Holocaust and the Second World War, and this book provides a thorough, close analysis of the footage in these films and their historical significance. Using research carried out at the Museum of Jewish Heritage, the US National Archives and the film collection at the National Center for Jewish Film at Brandeis University, this book explores the rationale for filming the atrocities and their use in the subsequent trials of Nazi officials in greater detail than anything previously published. Including an extensive bibliography and filmography, Filming the End of the Holocaust is an important text for scholars and students of the Holocaust and its aftermath.

A sweeping survey of how global filmmakers have treated the subject of the Holocaust.

Daniel, whose family suffers as the Nazis rise to power in Germany, describes his imprisonment in a concentration camp and his eventual liberation.

In this accessible, clear, jargon free, and comprehensive text, Projecting the Holocaust into the Present offers an insightful historical perspective on how public conceptions of the Holocaust in film have changed over time.

A moving, deeply researched account of survivors’ experiences of liberation from Nazi death camps and the long, difficult years that followed When tortured inmates of Hitler’s concentration and extermination camps were liberated in 1944 and 1945, the horror of the atrocities came fully to light. It was easy for others to imagine the joyful relief of freed prisoners, yet for those who had survived the unimaginable, the experience of liberation was a slow, grueling journey back to life. In this unprecedented inquiry into the days, months, and years following the arrival of Allied forces at the Nazi camps, a foremost historian of the Holocaust draws on archival sources and especially on eyewitness testimonies to reveal the complex challenges liberated victims faced and the daunting tasks their liberators undertook to help them reclaim their shattered lives. Historian Dan Stone focuses on the survivors—their feelings of guilt, exhaustion, fear, shame for having survived, and devastating grief for lost family members; their immense medical problems; and their later demands to be released from Displaced Persons camps and resettled in countries of their own choosing. Stone also tracks the efforts of British, American, Canadian, and Russian liberators as they contended with survivors’ immediate needs, then grappled with longer-term issues that shaped the postwar world and ushered in the first chill of the Cold War years ahead.

Discusses the way films have increased public awareness of the Holocaust. the great dictator, Cabaret, Julia, The pawnbroker, as well as the NBC Mini-Series, Holocaust, are discussed at length. Also discusses The diary of Anne Frank.

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska’s The Last Stage (1948) and Aleksander Ford’s Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajda’s A Generation (1955) and Andrzej Munk’s The Passenger (1963). Between 1965 and 1980 there was an “organized silence” regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kieślowski’s Decalogue 8 (1988), Andrzej Wajda’s Korczak (1990), Jan Jakub Kolski’s Keep Away from the Window (2000), and Roman Polański’s The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland’s national memory.