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East German Film and the Holocaust / Elizabeth Ward.

By: Material type: TextTextSeries: Film Europa ; 22Publisher: New York ; Oxford : Berghahn Books, [2021]Copyright date: ©2021Description: 1 online resource (264 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781789207477
  • 9781789207484
Subject(s): DDC classification:
  • 791.43/658405318 23
LOC classification:
  • PN1993.5.G33 W37 2021
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgements -- List of Abbreviations and Acronyms -- Introduction -- Part I. 1945–49 -- Introduction -- Chapter 1. Picking up the Pieces: Kurt Maetzig’s Ehe im Schatten -- Part II. 1949–61 -- Introduction -- Chapter 2. The German Democratic Republic’s Ambassador of Good Will: Konrad Wolf’s Sterne -- Chapter 3. Reframing Victimhood: Konrad Wolf’s Professor Mamlock -- Part III. 1961–71 -- Introduction -- Chapter 4. Crimes of the Past and Politics of the Present: Wolfgang Luderer’s Lebende Ware -- Chapter 5. ‘In Babelsberg, Nothing New’: Gottfried Kolditz’s Das Tal der sieben Monde -- Part IV. 1971–80 -- Introduction -- Chapter 6. New Encounters on Well-Worn Paths: Kurt Jung-Alsen’s Die Bilder des Zeugen Schattmann -- Chapter 7. Returning to the Past: Frank Beyer’s Jakob der Lügner -- Part V. 1980–89 -- Introduction -- Chapter 8. Shifting Identities: Michael Kann’s Stielke, Heinz, fünfzehn -- Chapter 9. Calendar-Based Shame? Siegfried Kühn’s Die Schauspielerin -- Conclusion -- Filmography -- Bibliography -- Index
Summary: East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781789207484

Frontmatter -- Contents -- List of Illustrations -- Acknowledgements -- List of Abbreviations and Acronyms -- Introduction -- Part I. 1945–49 -- Introduction -- Chapter 1. Picking up the Pieces: Kurt Maetzig’s Ehe im Schatten -- Part II. 1949–61 -- Introduction -- Chapter 2. The German Democratic Republic’s Ambassador of Good Will: Konrad Wolf’s Sterne -- Chapter 3. Reframing Victimhood: Konrad Wolf’s Professor Mamlock -- Part III. 1961–71 -- Introduction -- Chapter 4. Crimes of the Past and Politics of the Present: Wolfgang Luderer’s Lebende Ware -- Chapter 5. ‘In Babelsberg, Nothing New’: Gottfried Kolditz’s Das Tal der sieben Monde -- Part IV. 1971–80 -- Introduction -- Chapter 6. New Encounters on Well-Worn Paths: Kurt Jung-Alsen’s Die Bilder des Zeugen Schattmann -- Chapter 7. Returning to the Past: Frank Beyer’s Jakob der Lügner -- Part V. 1980–89 -- Introduction -- Chapter 8. Shifting Identities: Michael Kann’s Stielke, Heinz, fünfzehn -- Chapter 9. Calendar-Based Shame? Siegfried Kühn’s Die Schauspielerin -- Conclusion -- Filmography -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)