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  • 1
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    In:  Tribüne : Zeitschrift zum Verständnis des Judentums 17 (1978), Heft 67, Seite 4 - 5
    Language: German
    Year of publication: 1978
    Titel der Quelle: Tribüne : Zeitschrift zum Verständnis des Judentums
    Publ. der Quelle: Frankfurt am Main
    Angaben zur Quelle: 17 (1978), Heft 67, Seite 4 - 5
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  • 2
    Article
    Article
    In:  1999; Zeitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 17,2 (2002) 128-138
    Language: German
    Year of publication: 2002
    Titel der Quelle: 1999; Zeitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts
    Angaben zur Quelle: 17,2 (2002) 128-138
    Keywords: Knopp, Guido, ; Holokaust (Television program) ; Holocaust, Jewish (1939-1945) Influence ; Documentary television programs
    Abstract: Knopp is the producer of the documentary TV-series "Holokaust" which aired in Germany in 2000. He explains the spelling of the name of the series as a Germanization of the American term, because he wants the Holocaust to be seen as a German story. Frahm discusses the reasons for the varied nomenclature used for the extermination of the Jews (Holocaust, Shoah, Hurban). He examines Knopp's use in the film of three photographs taken by members of the Sonderkommando in Auschwitz, which cause the viewer to merge with the victims seen in the photos. Thus, he appropriates the Holocaust: the German audience becomes one with the victims, and German identity, wounded by Hitler and Auschwitz, is healed.
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  • 3
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    In:  1999; Zeitschrift für Sozialgeschichte des 20 17,2 (2002) 114-127
    Language: German
    Year of publication: 2002
    Titel der Quelle: 1999; Zeitschrift für Sozialgeschichte des 20
    Angaben zur Quelle: 17,2 (2002) 114-127
    Keywords: Knopp, Guido, ; Holokaust (Television program) ; Documentary television programs ; Holocaust, Jewish (1939-1945), in motion pictures
    Abstract: Acknowledges that Guido Knopp's six-part documentary TV-series "Holokaust" is based on two years of thorough historical research and brings much new photographic material and fresh testimony of contemporary witnesses. Criticizes the melodramatic mode in which this material is presented; for instance, the failure to put photos in their correct context (e.g. when the text speaks of the burning of the synagogue in Białystok, the photo shown is of the synagogue in Riga); the even-handedness in the treatment of victims and perpetrators: all are survivors of seemingly the same dehumanizing trauma; and the message (made explicit by scriptwriter and director Maurice Philip Remy in the production's Web site) that not the trauma is the end, but reconciliation and love.
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