Holocaust Cinema Complete

Holocaust movies have become an important segment of world cinema and the de-facto Holocaust education for many. One quarter of all American-produced Holocaust-related feature films have won or been nominated for at least one Oscar. In fact, from 1945 through 1991, half of all American Holocaust features were nominated. Yet most Holocaust movies have fallen through the cracks and few have been commercially successful. This book explores these trends--and many others--with a comprehensive guide to hundreds of films and made-for-television movies. From Anne Frank to Schindler's List to Jojo Rabbit, more than 400 films are examined from a range of perspectives--historical, chronological, thematic, sociological, geographical and individual. The filmmakers are contextualized, including Charlie Chaplin, Sidney Lumet, Steven Spielberg, Quentin Tarantino and Roman Polanski. Recommendations and reviews of the 50 best Holocaust films are included, along with an educational guide, a detailed listing of all films covered and a four-part index-glossary.

Index. Biography and filmography: p. 194-205.

Across three centuries, AJYB has provided insight into major trends. Part I of the current volume contains two chapters on Jewish Americans in 2020 by the Pew Research Center, including reactions from 16 prominent social scientists. Subsequent chapters analyze the development of Holocaust consciousness in America, recent domestic and international events as they affect the American Jewish community, and the demography and geography of the US, Canada, and world Jewish populations. Part II provides lists of Jewish institutions, including federations, community centers, social service agencies, national organizations, camps, museums, and Israeli consulates. The final chapters present lists of Jewish periodicals and broadcast media, Jewish Studies programs, books, journals, articles, websites, research libraries, and academic conferences and lists of major events in the past year, Jewish honorees, and obituaries. This volume employs an accessible style, making it of interest to public officials, Jewish professional and lay leaders, as well as the general public and academic researchers. For more than 120 years the American Jewish Year Book has served as an indispensable resource for scholars, clergy, and lay leaders, providing crucial, detailed insights into demographic shifts and sociological trends in the North American Jewish community. The latest edition continues to fulfill these important needs with essential articles on the landmark Pew Report and the impact of the Holocaust in the American Jewish community and American in general. This is a must-have volume for any serious student of the contemporary Jewish world. Jeffrey Shoulson, Senior Vice Provost for Academic Affairs, Professor of Literatures, Cultures, and Languages, and English, Director Emeritus Center for Judaic Studies and Contemporary Jewish Life, University of Connecticut The American Jewish Year Book is a critical snapshot of Jews and Jewish Studies in the United States in a particular year, and a valuable resource for scholars studying the changes in Jewish communities and Jewish Studies in the United States (and beyond!) over time. The AJYB highlights major publications and data that are consistently used in research, and its scholarly essays contextualize the information in an easily readable context. The lists of important institutions and organizations are invaluable for someone interested in the broader Jewish experience (or, at the most practical, a Jewish organization in their neighborhood!). Michelle Margolis Chesner, Norman E. Alexander Librarian for Jewish Studies, Columbia University

From The Great Dictator to Schindler's List, the extermination of the Jews of Europe has driven the cinema, more than any other form of artistic expression, to question its methods, techniques, and ethics. It is with reference to the Shoah that a decisive part of the thought behind modern cinema has been constructed, and, consciously or not, many of the greatest films of the past sixty years bear the mark of this event. To give an account of these phenomena, Cinema and the Shoah brings together filmmakers, historians, journalists, philosophers, and researchers to explore how the Shoah, as a historical event, implicated and mobilized the cinema by profoundly questioning its modes of recounting and storytelling, of putting visions onscreen. The book also includes a filmography (compiled with the assistance of the Fritz Bauer Institute of Frankfurt) that lists over three hundred feature-length films, short films, and documentaries about the Shoah, produced between 1945 and the present.

Explores cinematic representations of the "Jew" from film's early days to the present.

Being Poland offers a unique analysis of the cultural developments that took place in Poland after World War One, a period marked by Poland's return to independence. Conceived to address the lack of critical scholarship on Poland's cultural restoration, Being Poland illuminates the continuities, paradoxes, and contradictions of Poland's modern and contemporary cultural practices, and challenges the narrative typically prescribed to Polish literature and film. Reflecting the radical changes, rifts, and restorations that swept through Poland in this period, Polish literature and film reveal a multitude of perspectives. Addressing romantic perceptions of the Polish immigrant, the politics of post-war cinema, poetry, and mass media, Being Poland is a comprehensive reference work written with the intention of exposing an international audience to the explosion of Polish literature and film that emerged in the twentieth century.

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.

The following investigation into the Holocaust films of Polish-Jewish filmmaker Agnieszka Holland aims to identify the ways in which Holland both pushes the genre forward and challenges the traditional memory of the war in Poland. Rather than adhering to formalist conventions in portraying the Holocaust in cinema, Holland breaks the genre’s representational taboos, avoiding a binary narrative and instead engaging in a morally challenging confrontation with the past. Moreover, by focusing on the shared suffering of Poles and Jews during the war and occupation, Holland’s Holocaust films recast the memory of the war to better reflect its complex and at times ambiguous nature. This critical perspective offers a reconciliatory discourse in the competing national memories of both Catholic Poles and Jewish Poles. Specifically, this investigation examines Angry Harvest, Europa Europa, and In Darkness to conclude that the Holocaust films of Agnieszka Holland present a more complete and nuanced portrait of wartime conditions during World War II in Eastern Europe, and Poland in particular.

A wide-ranging study of Tarantino's controversial 2009 film, written by a luminous line-up of international scholars.

Analyzes the evolution of the representation of the Holocaust in French cinema from 1940 to the present. Gathers detailed analyses of the nine most widely praised French films dealing with the Holocaust. Includes stills, filmography, bibliography, index, and a lengthy interview with director Pierre Sauvage.

Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post–Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator’s typical denial or partial confession, this extraordinary form of “duel” documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment. Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors’ moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag’s analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator.

In this collection, leading scholars in both film studies and Israeli studies show that beyond representing familiar historical accounts or striving to offer a more complete and accurate depiction of the past, Israeli cinema has innovatively used trauma and memory to offer insights about Israeli society and to engage with cinematic experimentation and invention. Tracing a long line of films from the 1940s up to the 2000s, the contributors use close readings of these films not only to reconstruct the past, but also to actively engage with it. Addressing both high-profile and lesser known fiction and non-fiction Israeli films, Deeper than Oblivion underlines the unique aesthetic choices many of these films make in their attempt to confront the difficulties, perhaps even impossibility, of representing trauma. By looking at recent and classic examples of Israeli films that turn to memory and trauma, this book addresses the pressing issues and disputes in the field today.

Russo Bullaro's collection focuses on Benigni's Oscar winning La vita e bella/Life is Beautiful, a film which has set off continuous and often bitter debate about Holocaust representation and historical consciousness. The topics covered in Russo Bullaro's collection offer insights from critics around the world in a forum for the consideration of the wider issues that Benigni's films provoke.

The struggle to forge a national identity has preoccupied Israeli society since the founding of the state of Israel. This study shows how Israeli films of the 1980s and 90s contributed to the process of identity formation.

Costa-Gavras is a seminal figure in French and international cinema. A master of the political thriller, he explores historical events through individual human stories, thereby involving his audience in past and contemporary traumas, from the horrors of the Holocaust through mid-century international state terrorism and totalitarianism to the current global financial crisis. With a career spanning half a century, he remains one of cinema's most intriguing and enduring storytellers, theorists and political commentators. This collection of original essays charts and re-examines Costa-Gavras's career from Un homme de trop (1967) to Le capital (2012). Readable and carefully researched, it will appeal to students and scholars of film, as well as fans of the director's work.

Offers a history of German films shown in America from the founding of the Nazi government to America's involvement in the war. This book examines the major filmmakers and distributors who kept the German film industry alive during the rule of Hitler and the Third Reich.

Provides a comprehensive survey of Israeli films and filmmakers, establishing itself as the only book of its kind in English.