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Journal articles on the topic 'Nazis au cinéma'

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Published: 27 July 2024

Last updated: 28 July 2024

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1

Miraglia, Valentina. "Le cinéma de propagande nazie, trompette de l’apocalypse : Das Wort aus Stein (1939)." Frontières 25, no. 2 (May 9, 2014): 121–33. http://dx.doi.org/10.7202/1024943ar.

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Das Wort aus Stein de Kurt Rupli est plus qu’un film d’anticipation. Ce moyen métrage institutionnel produit par la UFA en 1939 est l’expression d’une démesure architecturale qui fait appel au cinéma pour donner réalité aux décors de l’idéologie technocratique nazie. Das Wort aus Stein montre la nouvelle Allemagne telle qu’elle s’imagine avant d’être rasée par les bombardements ennemis qui la menacent déjà au moment du tournage. Une avalanche de pierres, présage prémonitoire du désastre, sert de générique aux projets d’Hitler. À travers l’analyse de certains passages du film, des photos de tournage, des maquettes, d’articles d’époque, ce travail développe l’apocalypse dans laquelle les plans nazis entraînent l’Europe, le peuple juif et finalement l’Allemagne.

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2

Aslangul, Claire. "Guerre et cinéma à l’époque nazie." Revue Historique des Armées 252, no. 3 (August 1, 2008): 16–26. http://dx.doi.org/10.3917/rha.252.0016.

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Les dirigeants nazis ont reconnu précocement que le cinéma était « l’un des moyens de manipulation des masses les plus modernes » (Goebbels, 1934). Des moyens considérables ont alors été réquisitionnés pour soutenir la politique expansionniste de Hitler et remporter également la « guerre culturelle ». Au-delà de la diffusion de valeurs martiales, les images filmiques devaient aussi divertir et faire oublier les rigueurs du conflit. Films historiques et de fiction, documentaires, « actualités », dessins animés, publicités : avec des stratégies de communication extrêmement raffinées, le régime a encouragé le développement de productions cinématographiques aux fonctions complémentaires, et a fait des salles obscures un véritable lieu de « culture populaire ». Difficiles d’accès, car soupçonnés d’être aujourd’hui encore très efficaces, les documents filmiques de cette époque méritent l’attention des chercheurs, qui ont longtemps négligé certaines sources comme les dessins animés.

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3

Lindeperg, Sylvie. "Itinéraires : le cinéma et la photographie à l’épreuve de l’histoire." Cinémas 14, no. 2-3 (May 4, 2005): 191–210. http://dx.doi.org/10.7202/026009ar.

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Résumé Sous le signe de l’écriture de l’histoire, l’auteure revisite ici ses travaux successifs consacrés au cinéma. Elle évoque d’abord la question des usages cinématographiques du passé à travers le concept de « film palimpseste », puis revient sur deux axes structurants de l’un de ses ouvrages : les modes d’écriture de l’histoire par les actualités filmées consacrées à la Libération, et les enjeux de la migration et du réemploi des séquences d’archives tournées par les Alliés lors de la libération des camps nazis. Partant enfin de l’exemple de la photographie dite de la rafle du Vel’ d’Hiv, la dernière partie de l’article pose les jalons d’un nouveau chantier de recherche consacré à l’histoire des regards et des imaginaires collectifs.

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4

Kapczynski, J. "Nazi Film Melodrama * Screen Nazis: Cinema, History and Democracy." Screen 56, no. 2 (June 1, 2015): 289–93. http://dx.doi.org/10.1093/screen/hjv026.

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5

Belov, Sergey I. "REHABILITATION OF THE NAZI REGIME, ITS SUPPORTERS AND ACCOMPLICES IN THE EUROPEAN CINEMATOGRAPHY: CURRENT STATE AND NEW TRENDS IN DEVELOPING MEMORY POLICIES." RUDN Journal of Political Science 21, no. 1 (December 15, 2019): 110–17. http://dx.doi.org/10.22363/2313-1438-2019-21-1-110-117.

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The presented study is dedicated to the rehabilitation of the Nazi regime, its supporters and accomplices in modern cinema as part of the memory policy. The relevance of this work is determined by the growing influence of ultra-right politicians in a number of economically developed countries, an increase in the number of memorial wars due to the rehabilitation of Nazism accomplices and the spread of right-wing radicalism in the United States and European Union states. The aim of the study is the evaluation of the rehabilitation practices of Nazism and its supporters in new motion pictures, which have not been previously studied by representatives of the expert community from this perspective. Indirect apologetics of the Nazis and their adherents, including representatives of organizations recognized as criminal in accordance with the decision of the Nürnberg Tribunal, are widespread in modern cinema. The thesis is being promoted that even numerous members of organizations recognized as criminal secretly opposed the Nazi regime. Cooperation is considered as a necessary measure. The audience gets the impression that even highranking representatives of the army leadership were not aware of war crimes. People who for many years supported Hitler’s regime are shown as its victims. There have been attempts to re-evaluate certain aspects of the Nazi regime as a positive experience, in a way of referring to actual matters nowadays.

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6

Miller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 1 (September 2007): 69. http://dx.doi.org/10.1080/03612759.2007.10527161.

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7

Miller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 2 (January 2008): 69. http://dx.doi.org/10.1080/03612759.2008.10527194.

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8

Claus, Horst. "Nazis and the Cinema." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 123–25. http://dx.doi.org/10.1080/01439680903577383.

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9

Hake, Sabine. ":Nazis and the Cinema." American Historical Review 114, no. 1 (February 2009): 231. http://dx.doi.org/10.1086/ahr.114.1.231.

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10

Von Moltke, Johannes. "Nazi Cinema Revisited." Film Quarterly 61, no. 1 (2007): 68–72. http://dx.doi.org/10.1525/fq.2007.61.1.68.

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11

Rothberg, Michael. "In the Nazi Cinema." Wasafiri 24, no. 1 (March 2009): 13–20. http://dx.doi.org/10.1080/02690050802588984.

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12

Fux, Jacques. "Cinema nazi, faction e contemporaneidade." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 199–209. http://dx.doi.org/10.17851/2317-2096.23.3.199-209.

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Parte do sucesso da empreitada nazista durante a Segunda Guerra se deveu, indubitavelmente, à utilização do cinema seja como Propaganda Nazi seja como expressão artística de um desejo, talvez reprimido e velado, pela Beleza estética. Poderíamos pensar, também, que a contemporaneidade encontra-se afastada de alguns dos princípios nazistas, como os programas de eugenia, ou da busca de uma raça superior ariana. No entanto, encontramos ainda alguma presença artística da Alemanha nazista em diversas partes da nossa sociedade, sobretudo nas produções televisivas e cinematográficas recém-produzidas sobre o Holocausto. Este artigo tem como objetivo comparar o cinema produzido no período nazista com a contemporaneidade e analisar diferentes manifestações artísticas da atualidade.

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13

McCormick, Rick. "Screen Nazis: Cinema, History, and Democracy by Sabine Hake." German Studies Review 38, no. 1 (2015): 213–15. http://dx.doi.org/10.1353/gsr.2015.0008.

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14

Le Roy, Éric. "Les Corrupteurs, ou le cinéma français à l'heure nazie." Revue d’Histoire de la Shoah N° 163, no. 2 (January 2, 1998): 203–26. http://dx.doi.org/10.3917/rhsho1.163.0204.

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15

Witte, Karsten. "The Indivisible Legacy of Nazi Cinema." New German Critique, no. 74 (1998): 23. http://dx.doi.org/10.2307/488488.

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16

Jambrešić Kirin, Renata. "Is There the Holocaust without a Film Music? Analyzing a Croatian and a Serbian Film about the Holocaust." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 181–95. http://dx.doi.org/10.14746/pss.2017.12.12.

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This article implies that the impact of cinematic fiction on the capability to imagine and comprehend the trauma of the Holocaust is formed at the intersection of aesthetic, moral, social and ideological frames in particular society. Cinema had a special role for the unification of the Holocaust memory since 1990. In the post-Yugoslav cinema two feature films (Lea and Darija, 2011 and When Day Breaks, 2012) represent the cinematic paradigm shift in dealing with the difficult heritage of the Holocaust in Croatia and Serbia following the break of communism. Although they suffer from apolitical approach to historical issues and mitigate the consequences of local collaboration with the Nazis, as well as take the child as „the figure of infantilization” of the Holocaust (Hirsch 2012), their influence on the “postmemory generation” and the pedagogy of trauma in the region is significant and socially relevant.

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17

Jong-Ho Pih. "Nazi Cinema and the Utopia of Technology." Contemporary Film Studies 14, no. 3 (August 2018): 115–43. http://dx.doi.org/10.15751/cofis.2018.14.3.115.

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18

Ludewig, Alexandra. "Screening the East, Probing the Past: The Baltic Sea in Contemporary German Cinema." German Politics and Society 22, no. 2 (June 1, 2004): 27–48. http://dx.doi.org/10.3167/104503004782353276.

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Since the fall of the Berlin Wall, unification, and the subsequent reinventionof the nation, German filmmakers have revisited theircountry’s cinematic traditions with a view to placing themselves creativelyin the tradition of its intellectual and artistic heritage. One ofthe legacies that has served as a point of a new departure has beenthe Heimatfilm, or homeland film. As a genre it is renowned for itsrestorative stance, as it often features dialect and the renunciation ofcurrent topicality, advocates traditional gender roles, has antimodernovertones of rural, pastoral, often alpine, images, and expressesa longing for premodern times, for “the good old days” that supposedlystill exist away from the urban centres. The Nazis used Heimatfilms in an effort “to idealize ‘Bauerntum’ as the site of desirable traditionsand stereotyped the foreign (most often the urban) as thebreeding ground for moral decay.”

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19

Rogowski, Christian, and Antje Ascheid. "Hitler's Heroines. Stardom and Womanhood in Nazi Cinema." German Studies Review 27, no. 3 (October 2004): 642. http://dx.doi.org/10.2307/4141015.

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20

Crips, Liliane, Nicolas Férard, and Nicole Gabriel. "Le cinéma nazi : archives de guerres, archives dispersées par la guerre." Écrire l'histoire, no. 13-14 (October 10, 2014): 118–28. http://dx.doi.org/10.4000/elh.483.

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21

Singer, Claude. "Comment le cinéma nazi falsifiait l'image des ghettos juifs (1939-1944)." Diasporas 4, no. 1 (2004): 55–69. http://dx.doi.org/10.3406/diasp.2004.931.

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22

Esbenshade, Richard S. "Jews, Nazis, and the Cinema of Hungary: The Tragedy of Success, 1929–44." Hungarian Studies Review 46-47, no. 1 (October 2020): 124–29. http://dx.doi.org/10.5325/hungarianstud.46-47.1.0124.

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23

James, Chapman. "Nazis and the Cinema. By Susan Tegel. Hambledon Continuum. 2007. xi + 324pp. £16.00." Annual Bulletin of Historical Literature 96, no. 1 (December 2012): 107–8. http://dx.doi.org/10.1111/j.1467-8314.2012.01263.x.

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24

Henkel, Brook. "Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television." New German Critique 49, no. 2 (August 1, 2022): 161–86. http://dx.doi.org/10.1215/0094033x-9734861.

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Fritz Lang’s film The Thousand Eyes of Dr. Mabuse (1960) stands out among West German cinema of the Adenauer years for its attention to urban space and the afterlife of Nazism in the postwar era. This article rereads the film as an incisive representation of the new mobilities and historically layered spaces and infrastructure of 1950s Berlin, a representation informed by Lang’s exile experience and Hollywood film noir. By newly contextualizing the film in relation to the history of Nazi television, as well as Siegfried Kracauer’s and Theodor W. Adorno’s early postwar writings, the article reconstructs the film’s interconnections with critical discourses on the afterlife of fascist terror, authoritarianism, and irrationality in postwar urban space, media, and astrology. It demonstrates further the importance of rereading Lang, and cinema in general, in close relation to other media like television.

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25

Gemunden, Gerd, and Eric Rentschler. "The Ministry of Illusion: Nazi Cinema and Its Afterlife." German Quarterly 70, no. 4 (1997): 402. http://dx.doi.org/10.2307/408076.

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26

Baird, Jay W., and Eric Rentschler. "The Ministry of Illusion: Nazi Cinema and Its Afterlife." American Historical Review 103, no. 2 (April 1998): 545. http://dx.doi.org/10.2307/2649851.

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27

Bytwerk, Randall L. "Jo Fox.Film Propaganda in Britain and Nazi Germany: World War II Cinema.:Film Propaganda in Britain and Nazi Germany: World War II Cinema." American Historical Review 113, no. 2 (April 2008): 567–68. http://dx.doi.org/10.1086/ahr.113.2.567.

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28

Ritchie, J. M., and Linda Schulte-Sasse. "Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema." Modern Language Review 94, no. 1 (January 1999): 262. http://dx.doi.org/10.2307/3736098.

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29

Tapper, Michael. "Nazisploitation! The Nazi Image in Low-Brow Cinema and Culture." Historical Journal of Film, Radio and Television 33, no. 1 (March 2013): 176–78. http://dx.doi.org/10.1080/01439685.2013.764732.

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30

Petley, J. "Eric Rentschler, The Ministry of Illusion: Nazi Cinema and its Afterlife; Linda Schulte-Sasse, Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema." Screen 38, no. 3 (September 1, 1997): 287–95. http://dx.doi.org/10.1093/screen/38.3.287.

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31

Pithon, Remy, and Christian Delage. "La vision nazie de l'histoire. Le cinema documentaire du Troisieme Reich." Vingtième Siècle. Revue d'histoire, no. 24 (October 1989): 158. http://dx.doi.org/10.2307/3769194.

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32

Laurien, I. "Germany: facing the Nazi past today." Literator 30, no. 3 (July 16, 2009): 93–114. http://dx.doi.org/10.4102/lit.v30i3.89.

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This article gives an overview of the changing debate on National Socialism and the question of guilt in German society. Memory had a different meaning in different generations, shaping distinct phases of dealing with the past, from silence and avoidance to sceptical debate, from painful “Vergangenheitsbewältigung” to a general memory of suffering. In present-day Germany, memory as collective personal memory has faded away. At the same time, literature has lost its role as a main medium to mass media like cinema and television. Furthermore, memory has become fragmented. Large groups of members of the German society, like immigrants, see the past from a different perspective altogether. Although the remembrance of the time of National Socialism is still a distinctive part of Germany’s political culture, it has become more generalised, with “Holocaust memory” as a globalised symbol for a fundamental “break” in Western culture.

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33

Horak, Jan-Christopher. "The Ministry of Illusion: Nazi Cinema and Its Afterlife, and: Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 16, no. 2 (1997): 138–42. http://dx.doi.org/10.1353/sho.1997.0109.

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34

Daffner, Carola. "Remapping the World in Film: Fiction and Truth in Nazi Cinema." New Readings 11 (January 1, 2011): 37. http://dx.doi.org/10.18573/newreadings.75.

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35

Petro, Patrice. "Nazi Cinema at the Intersection of the Classical and the Popular." New German Critique, no. 74 (1998): 41. http://dx.doi.org/10.2307/488491.

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36

STARKMAN, RUTH A. "Peter Cohen's Architektur des Untergangs: Nazi Aesthetics and Recent German Cinema." Seminar: A Journal of Germanic Studies 33, no. 4 (November 1997): 338–55. http://dx.doi.org/10.3138/sem.v33.4.338.

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37

Halas, Matus. "Love your neighbor: Nazi soldiers and Femmes Fatales in Czech cinema." Social & Cultural Geography 20, no. 2 (August 7, 2017): 242–64. http://dx.doi.org/10.1080/14649365.2017.1356363.

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38

Zucker, Carole. ": The Ministry of Illusion: Nazi Cinema and Its Afterlife . Eric Rentschler ." Film Quarterly 52, no. 1 (October 1998): 83–85. http://dx.doi.org/10.1525/fq.1998.52.1.04a00500.

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39

Killen, Andreas. "What Is an Enlightenment Film?Cinema and the Rhetoric of Social Hygiene in Interwar Germany." Social Science History 39, no. 1 (2015): 107–27. http://dx.doi.org/10.1017/ssh.2015.44.

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This paper examines the discursive production of risk and its management in the German “enlightenment film” of the interwar period. From the sexual enlightenment films of the immediate postwar era to the Nazi-era sterilization films, public health campaigns mobilized new ideas about hygiene and the new resources of the mass media. Depicting a world composed of discrete risks (venereal disease, hereditary illness), on the one hand, and supplying information on how to manage such risks, on the other, public officials and experts invested considerable resources in this project of public education. Yet insofar as this project addressed controversial aspects of human behavior, and often proposed controversial solutions, this campaign of state-sponsored enlightenment remained an ambivalent one. Particularly in campaigns against venereal disease, leading advocates were frequently drawn into debates both about film's value as medium of mass instruction and the nature of the public they sought to address, a public perceived in fundamental ways as “at risk.” Their efforts routinely provoked charges that enlightenment films on sexual conduct could incite the very behaviors they strove to warn audiences against. By the end of the 1920s, the hopes placed in public enlightenment campaigns seemed to have waned. And yet the enlightenment film underwent a significant revival during the Nazi era. The paper concludes by examining the interconnections between the Nazis' reconceptualization of public enlightenment, risk, and strategies for managing it.

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40

Haywood, Geoff. "Nazis and the Cinema. By Susan Tegel. (London, England: Hambledon Continuum, 2007. Pp. x, 324. $36.95.)." Historian 72, no. 1 (March 1, 2010): 235–37. http://dx.doi.org/10.1111/j.1540-6563.2009.00260_65.x.

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41

Roman, Sergei N. "The movie “M” (1931) by Fritz Lang in the context of the scientific, social and cultural life of Germany in the 20-30 - ies of the twentieth century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 47 (2022): 204–16. http://dx.doi.org/10.17223/22220836/47/17.

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The article deals with the specifics of the social, political and cultural life in the Weimar Republic at time of the making of Fritz Lang's movie “M”. While showing the connection between the historic events of the time and the ideas conveyed in the movie, the author rejects the traditional interpretation of “M” as a pamphlet reflecting the problems in Germany before the national socialists came to power. The cooperation of the police and the criminal elements making attempts to catch the maniac is considered to be a logical continuation of the spiritual unity of the upper and lower classes shown in Lang's “Metropolis” four years before. The movie was banned by the Nazis in 1934, which can be explained by the inappropriateness of such ideas in the society where criminal behaviour is associated with biological deficiency - the question of criminal liability of the mentally deficient raised in “M” loses its relevance for the same reason. © С.Н. Роман, 2022 In the first place the movie is analyzed from the perspective of the artistic evolution of the detective genre, caused by the gradual strengthening of the realistic tendencies in cinema and the weakening of the influence of expressionism on the artistic life in general and Lang's style in particular. A criminal act is no longer shown by Lang - as opposed to his earlier works - to be an act provoked by unexplainable mystical forces; now it receives psychological explanation. The rejection of romantic traditions typical of the German cinema of the twenties, the appeal to pseudo-documentary filming, the arrival of sound in cinema - all this leads to the simplification of visual imagery, later on a characteristic feature of the movies of the thirties. A special focus is made on Lang's application of suspense, which is the key to understanding the whole composition of the artwork and becomes an integral part of detective movies made popular by Alfred Hitchcock for dozens of years to come.

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42

Saunders, Tom. "Filming the Nazi Flag: Leni Riefenstahl and the Cinema of National Arousal." Quarterly Review of Film and Video 33, no. 1 (December 7, 2015): 23–45. http://dx.doi.org/10.1080/10509208.2015.1094329.

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43

Smith, Christopher. "Sherlock Holmes and the Nazis: Fifth Columnists and the People's War in Anglo-American Cinema, 1942–3." Journal of British Cinema and Television 15, no. 3 (July 2018): 308–27. http://dx.doi.org/10.3366/jbctv.2018.0425.

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During the Second World War Universal Pictures produced three key Sherlock Holmes films. In each of these pictures, released in 1942 and 1943, Holmes was appropriated for the war effort. The Great Detective was transposed into wartime London where, in effect, he became the ultimate counter-intelligence agent who foiled the plots of Nazi infiltrators and sympathisers. The films retooled Holmes from his detective origins and place him into the spy genre, as was required for maximum propaganda value. Three key propaganda themes emerged from the films: first, that Britain was engaged in a ‘People's War’ in which Holmes was able to emerge victorious thanks to the contributions and assistance of ordinary members of the British public; second, that the public needed to be vigilant against the threat posed by Nazi agents and fifth columnists; third, that the USA and Britain were bound together by mutual respect and cultural ties and that collaboration between the two powers would achieve victory. Each of these themes was key to the British propaganda effort and emerged as a staple trope in British media. The Holmes films had, however, been produced by an American studio in Hollywood. Nevertheless, the American film-makers were typically able to produce successful ‘British’ propaganda pieces, drawing upon British propaganda tropes, which succeeded on both sides of the Atlantic. That success did not necessarily lie in the films' artistic merits – in fact, they were regularly savaged by critics in that respect – but because their propaganda messages were sufficiently subtle that they were rarely noted upon at all.

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44

Martonfi. "On Frey's Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929–44." Jewish Film & New Media 7, no. 2 (2019): 239. http://dx.doi.org/10.13110/jewifilmnewmedi.7.2.0239.

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45

Hames, Peter. "Jews, Nazis, and the Cinema of Hungary: The Tragedy of Success, 1929â44 by Frey David (review)." Slavonic and East European Review 97, no. 4 (October 2019): 785–87. http://dx.doi.org/10.1353/see.2019.0047.

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46

Zucker, Carole. "Review: The Ministry of Illusion: Nazi Cinema and Its Afterlife by Eric Rentschler." Film Quarterly 52, no. 1 (1998): 83–85. http://dx.doi.org/10.2307/1213401.

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47

Moseng, Jo Sondre, and Håvard Andreas Vibeto. "Hunting High and Low: Notes on Nazi Zombies, Francophiles and National Cinema(s)." Film International 9, no. 2 (May 2011): 30–41. http://dx.doi.org/10.1386/fiin.9.2.30.

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48

Thanouli, Eleftheria. "A Nazi hero in Greek cinema: History and parapraxis in Kostas Manousakis’s Prodosia." Journal of Greek Media & Culture 1, no. 1 (April 1, 2015): 63–77. http://dx.doi.org/10.1386/jgmc.1.1.63_1.

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49

Fenner, Angelica. ": Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema . Linda Schulte-Sasse." Film Quarterly 54, no. 1 (October 2000): 44–46. http://dx.doi.org/10.1525/fq.2000.54.1.04a00090.

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50

Zvegintseva, Irina Anatolyevna. "World War II in the Cinema of Green Continent." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 106–14. http://dx.doi.org/10.17816/vgik72106-114.

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Despite its remote location from the major theatre of operations, Australia participated in the war siding with the Anti-German Coalition from the outbreak of World War II up to its end. Naturally, this impacted upon economic, social and cultural life of the country. The war was broadly covered by the Australian filmmakers and took a significant place in Australian cinema. For Australia World War II began on September 3rd, 1939. A million of Australian men and women fought against Germany in 19391945. Talking of the war theme in the Australian cinema, one should firstly pay tribute to the memory of dozens of Australian cameramen sent to the World War front alongside with soldiers, who covered the events in the newsreels. As for feature filmmakers, they were not able to cover the war due to poor production funding. Only after resuscitation of the national filmmaking in 1970s Australian filmmakers got an opportunity of shooting a number of interesting films dedicated to the events that had taken place seventy years ago. The theme of World War II was covered in many films. A lot of the best national filmmakers paid tribute to it, ranging from Brendan Mahers Sisters of War (2010) with its unprecedented harsh and truthful depiction of the role of Australian women in the war, to Jonathan Teplitzkys The Railway Man (2013), based on the bestselling autobiography of Eric Lomax (co-produced with Great Britain). The relevance of this article and its innovative contribution comes down to proof, that, although the number of films dedicated to World War II is relatively limited, their quality is extremely high and noteworthy. Its also noteworthy, that Australian filmmakers have brought back in the viewers minds the heroism of their fathers and forefathers, thus paying tribute to the memory of those who saved the world from Nazism seventy years ago.

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