Bibliografías temáticas / Jewish children in the Holocaust in motion pictures

Literatura académica sobre el tema "Jewish children in the Holocaust in motion pictures"

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Publicado: 25 de julio de 2024

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Tesis sobre el tema "Jewish children in the Holocaust in motion pictures"

1

Jones, Gareth David. "Rites of recuperation : film and the Holocaust in Germany and the Balkans". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609628.

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Egerton, Jodi Heather. ""Kush mir in tokhes!" : humor and Hollywood in Holocaust films of the 1990s /". Thesis, Electronic version from University of Texas Libraries, 2006. http://www.lib.utexas.edu/etd/d/2006/egertond25518/egertond25518.pdf#page=3.

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3

Villa, Maria Cristina. "L'Italia non vede, non sente, non parla? il cinema italiano della deportazione razziale /". Diss., Restricted to subscribing institutions, 2006. http://proquest.umi.com/pqdweb?did=1362521431&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--UCLA, 2006.
Vita. Filmografia generale sul cinema della deportazione razziale-- fiction (leaves 470-481). Filmografia del cinema italiano della deportazione razziale (leaves 482-490). Includes bibliographical references (leaves 491-510).
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4

MacGregor, Fianna Raven. "The Responsibilities and Limitations of Holocaust Storytelling: Understanding the Structure and Usage of the Master Narrative in Holocaust Film". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/150.

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When we speak of historical events, we do so with a certain amount of perceived knowledge; that is, we come to believe we know specific, individual 'truths' about the event. Since historical works are never unembellished lists of documented facts, the knowledge of how we conceive of factual events, how we document events we did not witness, is important in understanding the resulting storytelling process, not just in fictional literary constructs such as novels, short stories, poetry or film, but in the formulation of history itself. For written history must be seen, at least in part, as a constructed or representational reality and this construction generally takes place organically, that is, there are no architects of such histories. Instead, they come together as a result of public acceptance of the individual elements of the narrative. Over time, historical data and anecdotal narrative solidify into a cohesive whole made up of both hard fact and individual response to those facts, a blended whole that can be termed the master narrative of the historical event and which serves as the basis on which we construct the fictional narratives of literature and film.
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5

Brodie, Mark Phillip. ""From Darwin to the death camps" : a collage of Holocaust representation focusing on perpetrator atrocity discourse in literature, drama, and film /". Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Dissertations/BRODIE_MARK_43.pdf.

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6

Tillman, Aaron. "Magical American Jew : the enigma of difference in contemporary Jewish American short fiction and film /". View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3368007.

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7

Zamboni, Camilla. "LIMINAL FIGURES, LIMINAL PLACES: VISUALIZING TRAUMA IN ITALIAN HOLOCAUST CINEMA". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1244042142.

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8

Melchers, Alma Louise Sophia. "Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14340.

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Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.
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9

Hahn, Hans-Joachim. "Repräsentationen des Holocaust : zur westdeutschen Erinnerungskultur seit 1979 /". Heidelberg : Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2673724&prov=M&dok_var=1&dok_ext=htm.

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10

Armstrong, David L. "De-simplifying the Holocaust : representation and the Nazi genocide in contemporary film /". 2005. http://wwwlib.umi.com/dissertations/fullcit/1428219.

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Libros sobre el tema "Jewish children in the Holocaust in motion pictures"

1

Children of Job: American second-generation witnesses to the Holocaust. Albany, N.Y: State University of New York Press, 1997.

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2

D, Inandiak Elizabeth, ed. Ma vie balagan. Paris: Laffont, 2008.

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3

ha- Daḥlil ha-ḳaṭan: Masaʻo shel yeled be-Shoʼah. Tel Aviv: Moreshet, 2008.

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4

The Holocaust in French film. Metuchen, N.J: Scarecrow Press, 1993.

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5

Colombat, André Pierre. The holocaust in French film. Metuchen, N.J: Scarecrow Press, 1993.

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6

Doneson, Judith E. The Holocaust in American film. Philadelphia: Jewish Publication Society, 1987.

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7

Polish film and the Holocaust: Politics and memory. New York: Berghahn Books, 2012.

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8

J, Reimer Carol, ed. Historical dictionary of Holocaust cinema. Lanham: Scarecrow Press, Inc., 2012.

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9

Projecting the Holocaust into the present: The changing focus of contemporary Holocaust cinema. Lanham, Md: Rowman & Littlefield, 2005.

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10

The modern Jewish experience in world cinema. Waltham, Mass: Brandeis University Press, 2011.

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