Introduction:<\/h3>\n
During World War II, visualization was a main tool to \u201ceducate\u201d the general public on anti-Semitic ideals. \u00a0Films – political propaganda, home videos compilation documentaries, non-fiction, biographies, and autobiographies \u2013 develop a solid foundation for understanding the history of anti-Semitic propaganda and the traumatic experiences enforced during the Jewish Genocide. Through the screenings of the Nazi propaganda films, GI documentation, Soviet newsreels, and American made films, our world is able to watch the actions and accusations performed against the Jewish community. Filmmakers were able to use this medium to manipulate anti-Semitic ideals as well as develop new exposition techniques. Cinematic images of the Holocaust have made a crucial impact on educating and bring public awareness of Nazism anti-Semitic actions. Film broadcasted the fenced concentration\u00a0camps, exposing the horrific tactics used against these Jewish victims. Because of this visual representation, modern society is able to perceive World War II through familiar visual images. \u00a0The medium of film expanded and popularized anti-Semitism during World War II. The emotional effects of films can be analyzed through the films created during and after World War II.<\/p>\n
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Books:<\/h3>\n
Horror in Our Time: Images of the Concentration Camps in the British Media<\/span><\/strong><\/p>\n During WWII, the British public was sheltered from the Jewish death; newsreels and photographic images were hidden from them. This chapter explores how the governments restriction conveyed how the public viewed the anti-Semitic actions of the Nazis and the power of an image. \u00a0Bergen\u2013Belsen was a specific case of the\u00a0British Army Film and Photographic Unit (AFPU) took footage of this camp to distribute the knowledge of the horrific Nazi actions against the Jews.\u00a0An image distills a memory in our minds; seeing the dead bodies on the newsreels toyed with the emotions of the British public, instilling a passion in the community for change.<\/p>\n Caven, Hannah. “Horror in Our Time: Images of the Concentration Camps in the British Media, 1945.”\u00a0Historical Journal of Film, Radio and Television 21<\/em>, no. 3 (2003): 205-53.<\/p>\n <\/p>\n Holocaust and the Moving Image<\/span><\/strong><\/p>\n This chapter tries to answer the question most filmmakers ask themselves when first creating a Holocaust film:\u00a0how must the reveal this hirstoric event and efficiently communicate something that actually occurred?\u00a0Jack Gold discusses the three main approaches that could be taken when creating a filmed based on the Holocaust. \u00a0This presents the idea that a filmmaker must choose what type of film he would like to create to effectively emotionally touch their audience.<\/p>\n There are many unanswered questions filmmaker face when creating a film representing the Holocaust. A filmmaker must start with this complex question: how must the reveal this hirstoric event and efficiently communicate something that actually occurred? Jack Gold claims there are three basic choices a filmmaker can chose from: (i) using direct evidence, therefor real film, this includes photographs, newsreels, sound recordings, and home movies of the actual events. This is a rather complicated process, but not impossible process, for Holocaust films since during WWII there was a spark in journalistic practices. The second choice a filmmaker can choose from is\u00a0<\/strong>(ii) Witness accounts. This is when specific accounts, both spectator and participants, record their experiences through either film or voiceover, to allow the audience to understand the happenings of the events. During these accounts, living survivors are able to speak out, explaining historical accounts, adding to the emotional ties of the audience. The process of seeking out these individuals is critical; credibility is the upmost importance of a documentary film.<\/p>\n Haggith, Toby. “Escape From Sobibor: A Film Made for Television Depiciting the Mass Escape from Sobibor Extermination Camp.” In Holocaust and the Moving Image: Representations in Film and Television since 1933<\/em>, 198-202. London: Wallflower, 2005.<\/p>\n <\/p>\n First Films of the Holocaust<\/i><\/span><\/strong><\/p>\n This book discusses the idea that during 1940-1950, the West depiction of the Holocaust was based on newsreels filmed during the allied liberation of German; Soviet films were unseen. Although it was Soviet filmmakers who were the first to film the horrors of genocides. This book overlooks the Soviet films and how they were the basis of the public\u2019s awareness of the Nazi\u2019s corrupted practices. Many films were destroyed or have gone \u201cmissing\u201d since they were released, causing speculation. This book highlights propaganda tools used to manipulate the public into an anti-Semitic mindset.<\/p>\n This book focuses on the Soviet Newsreels shown in theaters, using live-action\u00a0Soviet footage to highlight the actions performed in\u00a0Holocaust. \u00a0Discusses the implications filmmakers faced, how did society watch and reciprocate this horrific information.<\/p>\n The Soviets changed the \u201cboundaries\u201d of what became acceptable to broadcast to the public.<\/p>\n Hicks, Jeremy. In\u00a0<\/span>First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-1946<\/i>, Pittsburgh. Pa: University of Pittsburgh Press, 2012.<\/span><\/p>\n <\/p>\n Film and Genocide\u00a0<\/strong><\/span><\/p>\n This book discusses films that highlight the topic of genocide, both fictional and documentary; this covers\u00a0the\u00a0Holocaust. Through the medium of the screen, filmmakers have used their voices to discuss the horrific topic: mass genocides. This book explains the techniques different filmmakers used in order to successfully depict the atrocities to the general public. Film and Genocide <\/span>uses the accounts of three film directors and their films that changed the thoughts of thousands. These films influenced the public\u2019s emotions, shedding light on deeply disturbing, hidden stories, on true accounts.<\/p>\n Watching these films as a spectator: film from a documentation standpoint, watching the holocaust during WWII on screen. How can you remember genocides after the account?\u00a0This is used through documentary films. Documentary allows there to be a\u00a0\u201crewriting\u201d of history by shedding a light on accounts the public is unaware of. \u00a0This allows the director to bring back the past, showing public actual accounts (real people, events happened to them). \u00a0Also discuss the impact of films that include \u201cdeath and witnesses\u201d of the actual people on the audience; this has an emotional success on viewers.<\/p>\n Wilson, Kristi M.\u00a0<\/span>Film and Genocide<\/i>. Madison, Wis.: University of Wisconsin Press, 2012.<\/span><\/p>\n <\/p>\n Emotional Engineering: Hitler Youth Quex<\/strong><\/span><\/p>\n Goebbels controlled the film industry, giving the Nazi powerful reign over the content produced for both the entertainment and propaganda films. But, the government abused their complete control of the film industry – especially Goebbels. Goebbels roles included: director, top producer, screenplay author and censor, and studio boss, making him the \u201cmaster of showmanship… the Nazi film minister\u201d. \u00a0It was Goebbels and Hitler\u2019s combined propaganda techniques that created the anti-Semitic films that influenced the Nazi anti-Semitic practices.<\/p>\n In this book there are quotes of Goebbels translated into english personifying his anti-semitic ideals.<\/p>\n Rentschler, Eric. “Emotional Engineering: Hitler Youth Quex (1933). Cambridge, Mass., Michigan: Harvard University Press, 1996.<\/p>\n <\/p>\n “The Demonic Effect”: Veit Harlan’s Use of Jewish Extras in Jud Suss (1940)<\/strong><\/span><\/p>\n Goebbels encouraged Veit Harlan, the director, for main actors to contain pure Aryan blood; this included the Jewish characters, but Harlan ignored these demands. By using Jews, it allowed the qualities the film was representing appear \u201creal\u201d and \u201ctruthful\u201d, although they were only stereotypes and false accusations.<\/p>\n This chapter includes english translations of Goebbels explaining his anti-semitic goals and how he uses films to portray them. \u00a0This chapter also highlights how Goebbels believes Jews should be treated and how they represent the stereotypes that were created against them.<\/p>\n <\/strong>Tegel, Susan. “”The Demonic Effect”: Veit Harlan’s Use of Jewish Extras in Jud Suss (1940).” Holocaust and Genocide Studies<\/em>, no. 1 – Spring 2000 (2000): 215-41. Accessed December 11, 2015.<\/p>\n <\/p>\n “The Image of the Enemy.” In\u00a0Propaganda and the German Cinema<\/span><\/strong><\/p>\n Film was a critical tool to show these Jewish stereotypes and increase the Nazi Party\u2019s anti-Semitic ideals.\u00a0Through english translation, Goebbels\u00a0explains how this film rightfully portrays the Jewish culture and how Germany should take action to exterminate the Jewish community.<\/p>\n Welch, David. “The Image of the Enemy.” In Propaganda and the German Cinema, 1933-1945<\/em>, 246. Rev. ed. London: I.B. Tauris, 2001.<\/p>\n Images<\/strong><\/p>\n Horror in Our Time: Images of the Concentration Camps in the British Media, 1945<\/span>:<\/strong><\/p>\n : One of the main themes of the AFPU was the presence of children in these camps, creating shock amongst the British public and influencing the British Parliament to influence change. This can be seen in these three images.<\/strong><\/p>\n Caven, Hannah. “Horror in Our Time: Images of the Concentration Camps in the British Media, 1945.” 205-53.<\/p>\n <\/p>\n Der Ewige Jude (The Eternal or Wandering Jew)<\/strong><\/p>\n This film poster for “Der Ewige Jude c<\/strong>ontinues the theme of personifying the Jews in a wicked lens. \u00a0It\u00a0highlights the theme of Der ewige Jude<\/em>: the Jewish community will terrorize the innocent to maintain their wealth and international power.<\/p>\n “Der Ewige Jude (The Eternal or Wandering Jew).” United States Holocaust Memorial Museum. Accessed December 11, 2015. http:\/\/www.ushmm.org\/information\/press\/press-kits\/traveling-exhibitions\/state-of-deception\/der-ewige-jude-the-eternal-or-wandering-jew.<\/p>\n <\/p>\n “GHDI – Image.”<\/strong><\/p>\n This is\u00a0<\/strong>another movie poster that was used to advertise for the film.\u00a0Not only is the Jewish star the focal point of the poster, but yet again, the Jewish persons appear evil and malicious.<\/p>\n “GHDI – Image.” The Eternal Jew [Der Ewige Jude], Film Poster (September 1940). Accessed November 20, 2015. http:\/\/germanhistorydocs.ghi-dc.org\/sub_image.cfm?image_id=2331.<\/p>\n <\/p>\n Der Ewige Jude “The Eternal Jew”<\/em><\/strong><\/p>\n
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