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  • 1
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 14,2 (1994) 167-197
    Language: English
    Year of publication: 1994
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 14,2 (1994) 167-197
    Keywords: Joyce, William, ; Jews History 1939-1945 ; Holocaust, Jewish (1939-1945) Mass media and the Holocaust ; National socialism Philosophy ; Holocaust, Jewish (1939-1945)
    Abstract: The main organizer of Nazi propaganda aimed at Britain through the Concordia broadcasts was William Joyce (known as "Lord Haw-Haw"), who emerged in the 1930s as one of the most virulent antisemites in Oswald Mosley's British Union of Fascists. He left Britain for Germany on the eve of the war, making a career in the English language section of the Nazi "black" (i.e. secret, unofficial) radio stations. The Nazi broadcasts focused on defeatist, anti-capitalist, and antisemitic talks, with emphasis on the "submission" of the British leaders to the Jews. The Jews, foreigners, and Churchill were held responsible for the horrors of the war.
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  • 2
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 14,2 (1994) 199-214
    Language: English
    Year of publication: 1994
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 14,2 (1994) 199-214
    Keywords: Genechten, Robert van. ; Van den vos Reynaerde (film) ; Holocaust, Jewish (1939-1945) ; Holocaust, Jewish (1939-1945), in motion pictures
    Abstract: Relates the production of an animated film by a Dutch Nazi company, based on the antisemitic children's book published in 1941 by Robert van Genechten (1895-1945), a Flemish writer active in the Dutch Nazi movement. The film, directed by Egbert van Putten, is a remarkable example of Nazi propaganda. The character of the villain is portrayed by the rhinoceros Jodicus, a "Jew animal" (Jood = Jew in Dutch). Reynaert the fox is a positive fascist hero. For unknown reasons, after a single screening in The Hague in 1943, the film was never released in the cinema. Perhaps the antisemitic propaganda was no longer deemed necessary after the deportation of the Dutch Jews. Pp. 210-212 include the screenplay for the film.
    Note: A Dutch version appeared in "De Volkskrant" (25 May 1991). , Another English version appeared as "Dutch anti-Semitic colour animation in World War II: Robert van Genechten's 'Van den vos Reynaerde' (1943)" in "Historical Journal of Film, Radio and Television" 31,1 (2011) 1-41.
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  • 3
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 18,3 (1998) 353-373
    Language: English
    Year of publication: 1998
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 18,3 (1998) 353-373
    Keywords: British Broadcasting Corporation ; Holocaust, Jewish (1939-1945) ; Holocaust, Jewish (1939-1945) Mass media and the Holocaust ; Jews History 1939-1945
    Abstract: For a long time, during World War II, the BBC Hungarian Service avoided broadcasting on Jewish issues lest it be identified with Jews. After the Nazi occupation of Hungary in 1944, it changed its attitude and devoted much time to coverage of the situation of Hungarian Jewry. Its broadcasts contained reports on events, warnings addressed to Hungary's rulers, and appeals to the Hungarian people to sabotage the genocide, help Jews, and thereby recover Hungarian national honor. However, the BBC Hungarian Service failed to influence events in Hungary or to save any lives. Following the directives of the Political Warfare Service, it avoided stressing Jewish issues, as well as broadcasting news that had no definite confirmation (like gassings of deportees). The appeals for Hungarian-Jewish brotherhood came too late, and many other broadcasts were ill-timed.
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  • 4
    Language: English
    Year of publication: 2000
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 20,2 (2000) 213-226
    Keywords: Wajda, Andrzej, ; Motion pictures ; Jews in motion pictures ; Holocaust, Jewish (1939-1945) ; Holocaust, Jewish (1939-1945), in motion pictures
    Abstract: Examines four films by Wajda depicting the Holocaust: "Samson, " "Landscape after Battle, " "Korczak, " and "Holy Week." Wajda's portrayal of Jews and Polish-Jewish relations in these films is inconsistent with historical truth. His Jewish heroes are "non-Jewish Jews, " Polonized and remote from Jewish tradition; traditional Jews play negative roles in his films. Wajda admits that antisemitism was widespread in prewar and wartime Poland, but shows that it was counterbalanced by a similar attitude of the Jews toward the Poles. He emphasizes that the intelligentsia tried to help Jews, while the uneducated classes either participated in the genocide or attempted to profit from it. Wajda also tries to show that Poles were more tragic victims of the war than Jews; in "Holy Week, " the compassion of the viewer is focused on the Poles who rescue a Jew rather than on the Jew. Wajda's films convey a belief in the superiority of Polish culture over the Jewish way of life. Wajda is not an antisemite, but his attitude toward Jews is patronizing.
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  • 5
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 12,1 (1992) 41-67
    Language: English
    Year of publication: 1992
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 12,1 (1992) 41-67
    Keywords: Hippler, Fritz. ; Holocaust, Jewish (1939-1945), in motion pictures ; National socialism Philosophy ; Holocaust, Jewish (1939-1945)
    Abstract: Discusses the making of, and German reaction to, the antisemitic propaganda film "Der ewige Jude" (1940), produced by Joseph Goebbels and directed by Fritz Hippler. Two versions of the film existed - one more brutal and the other more mild. "Der ewige Jude" was a commercial failure, indicating that antisemitism among the German population at large was not so strong as in Nazi ideology. Other causes for the failure of the film were the lack of viewer involvement, the unrelieved grimness of the subject, an unsuccessful strategy (it falls between fiction and newsreel), and the fact that it was screen-tested by uncritical colleagues. Pp. 55-67 contain appendices: a chronology of Nazi films, and the English translation of the film's narration. See the response by Ilan Avisar, "The Historical Significance of 'Der ewige Jude' (1940)" [in the "Historical Journal of Film, Radio and Television" 13, 3 (1993) 363-365], in which he criticizes the authors' conclusion that the film was a failure, emphasizing that the film was a call for genocide, and calling for further critical analysis of the film's production, content, and reception.
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  • 6
    Language: English
    Year of publication: 2007
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 27,1 (2007) 1-25
    Keywords: Eichmann, Adolf, ; Ḳol Yiśraʼel ; War crime trials ; Holocaust, Jewish (1939-1945) ; Holocaust, Jewish (1939-1945) Influence ; Mass media
    Note: In Hebrew: , "שישה מיליון קטגורים" (2011) 176-189
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  • 7
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 13,4 (1993) 433-450
    Language: English
    Year of publication: 1993
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 13,4 (1993) 433-450
    Keywords: Riefenstahl, Leni. ; Jews History 1939-1945 ; Kristallnacht, 1938 ; Holocaust, Jewish (1939-1945)
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  • 8
    Article
    Article
    In:  Historical Journal of Film, Radio and Television 12,2 (1992) 145-162
    Language: German
    Year of publication: 1992
    Titel der Quelle: Historical Journal of Film, Radio and Television
    Angaben zur Quelle: 12,2 (1992) 145-162
    Keywords: Theresienstadt (Concentration camp) ; Jewish ghettos ; Holocaust, Jewish (1939-1945) ; Jews ; Holocaust, Jewish (1939-1945), in motion pictures
    Abstract: States that the film made in 1944-45, whose correct title was "Theresienstadt: Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet" (and not "Der Führer schenkt den Juden eine Stadt"), was the brainchild of SS Major Hans Günther, chief of the Zentralstelle zur Regelung der Judenfrage, the Gestapo Central Jewish Office in Prague. Goebbels and the Propaganda Ministry had nothing to do with it. The film disappeared after the war, but fragments were found in Czechoslovakia and at Yad Vashem. Kurt Gerron, a Jewish inmate, wrote the script and directed the film until his deportation to Auschwitz in October 1944 where he perished. Notes four known private screenings of the film in April 1945 (three of them to visitors in Theresienstadt). Pp. 156-158 present a reconstruction of the film's sequences based on all the available sources.
    Note: In German: "Theresienstadt in der 'Endlösung der Judenfrage'" (1992) and "Auschwitz - Geschichte, Rezeption und Wirkung", 2. Aufl. (1997).
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