Spielbergs Portrayal Of The Holocaust

Monday, February 28, 2022 2:52:35 AM

Spielbergs Portrayal Of The Holocaust



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He included interviews with some of the people who worked on the films he chose, including directors Sidney Lumet and Steven Spielberg and actors including Rod Steiger. As Anker shows in the film, Hollywood did not only tell stories about the Holocaust, it actually helped to document the war. So important did the US government consider their work that after liberation, film crews went into concentration camps even before medical teams. Its U. TV premiere was April 5, The late release date is attributed to the fact that it was originally made for cable TV, and then only later screened in theaters for a short time before the release of the DVD.

Imaginary Witness includes scenes from over forty films and newsreels, and interviews with leading scholars, filmmakers, and Holocaust witnesses, to show how films portrayed Holocaust events, reflected public sentiment, or helped to shape it. It explores "the question of how an industry that sells fantasy has dealt with one of the most horrifying episodes in modern world history, but also how the movies themselves reflect America's ever-evolving relationship to the events of that era. At the core of the film is an ethical and moral debate about portrayal.

Is it even possible to imagine on screen the unimaginable? Should the movie industry even undertake such an endeavor? Ultimately, the film asks hard questions: about the uneasy relationship between American popular culture and the Holocaust, about the responsibility of filmmakers in their portrayal of history, and about the power of film to affect the way we look at ourselves.

The American film industry took it upon itself to act as a cheerleader for United States and Allied military interests during World War II , but Hollywood was initially reluctant to directly condemn Nazi anti-Semitism , and it wasn't until years after the war ended that American filmmakers began offering a realistic, dramatic look at the horrible toll of Hitler's " final solution. In addition to excerpts from Hollywood films, the documentary includes official military newsreel footage of thirteen studio moguls who traveled to Europe to witness personally the evidence of Nazi atrocities at the invitation of General Eisenhower. Warner at USC. The message of the trip was clear: go home and bear witness to these atrocities, and for a time newsreels did carry graphic images of bulldozers burying bodies at Bergen-Belsen , an image that would be etched in the collective memory of a generation of people.

But Eisenhower's mission was not accomplished and it would be decades before Hollywood would again depict a concentration camp on screen. Eisenhower, who wrote to Chief of Staff George Marshall that he had personally visited Ohrdruf concentration camp "in order to be in a position to give first hand evidence of these things if ever, in the future, there develops a tendency to charge these allegations merely to propaganda," [10] sent out invitations to journalists, photographers, and film makers from both the United States and England.

He explained his belief that permanent documentation of the atrocities American forces had uncovered was crucial for many reasons, including the fact that, "We are told that the American soldier does not know what he is fighting for. Now, at least, he will know what he is fighting against. This documentary has been recognized as a chronicle not only of an important element of film history, but also of world history.

As one review put it,. This ambitious documentary provides not only a survey of Hollywood films about the Holocaust, but also a history of the Holocaust itself, and of the main cultural currents that characterized pre- and postwar America. Art or realism? But it also exhibits conventional Hollywood storytelling values — an episodic plot, an arc that leans towards sentimentality and a dichotomy between two morally polarised central characters both played by British actors, as is the Hollywood way when it comes to portraying Nazis. With the partial exemption of Boy in the Striped Pyjamas, each of these films shares a common thread — they flinch away from the appalling realities of the Holocaust, often circumnavigating the death camps entirely.

Conversely, Shutter Island was criticised for its supposed inaccuracies — displaying the bodies of Auschwitz victims, fully clothed, in frozen piles when documentary footage suggests they were found in orderly lines. Shutter Island is a consciously revisionist portrayal of the Holocaust, a narrative house of cards that fully acknowledges its cinematic heritage.

Should we criticise these films for their inevitable, enforced verisimilitude? Should we expect them to reveal the darkest parts of humanity under the pretext of increasing understanding, or is there a duty to conform to a certain moral literacy which the victims of the Holocaust were simply not afforded? Each exists on the premise of failure. It is, of course, impossible to accurately and authentically provide an insight into what it was like to be Jewish during World War Two, to live and die at the hands of the Nazis.

The game is rigged, but nevertheless, for the sake of remembrance, it needs to be played. Tags: The Holocaust. How The French Connection reinvented the Hollywood cop movie.

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