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Nazi Germany

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Journal Article
Camera Obscura (1995) 12 (2 (35)): 106–128.
Published: 01 May 1995
... as a reborn diva, despite hefty critique of her association with Hitler as Nazi Germany's prime filmmaker.! Schiff's suggestion that she was a highly talented and opportunistic aesthete, whose long life and contributions to the art will come to overshadow her political naivete in aiding Nazism, may seem...
Journal Article
Camera Obscura (2019) 34 (2): 103–131.
Published: 01 September 2019
... these contradictions and how Arendt emerges from this film, which attempts to portray a politically engaged intellectual woman, a figure that is almost entirely absent from the film screen. Hannah Arendt Margarethe von Trotta Adolf Eichmann the Holocaust Nazi Germany Copyright © 2019 Camera Obscura 2019 ...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 147–182.
Published: 01 May 2006
... and post-Nazi patriarchal order. Whether it is a collaborator/victim — like the body of Lene (Eva Mattes), the mother in Germany Pale Mother — or an extreme opponent of the past/victim — like the body of the girl Ursula in Hunger Years — the female body bears the mark of nearness to the Nazi...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... of This Camp, Even Though I Knew It Would Only Get Worse until Liberation Came’: On Hungarian Jewish Accounts of the Buchenwald Concentration Camp from 1945–46,” Hungarian Historical Review 2, no. 3 (2013): 609. 3. Saul Friedlander, The Years of Extermination: Nazi Germany and the Jews, 1939–1945...
FIGURES
Journal Article
Camera Obscura (2008) 23 (2 (68)): 103–139.
Published: 01 September 2008
... of Alfred Himmelman (Ernest Lenart), a very old Nazi criminal who had “cleansed” a region in Germany of Jews. With the exception of Menachem himself, Eyal’s mother, and a few others, no Jews from this region survived. The Mossad wants to track Himmelman down before he dies...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 99–141.
Published: 01 May 2001
... occupied by Germany. And of course the film contains an interview with Inge Deutschkron, a Jewish woman whose remarks concern not only her witnessing of rapes by Soviet soldiers, but also her years in hiding from the Nazis, which are presented as a necessary...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 137–164.
Published: 01 December 1986
... critics. H. G. Wells pronounced it “an amalgam of all the nonsense and platitudes we have ever heard, upon which is ladled a sentimental sauce like no other.” More signifi- cantly, some critics have seen parallels with, not to say instances of, Nazi ideas, values, and fantasies. For Francis...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 71–113.
Published: 01 December 2001
..., in the office, with no one else around. The Patient demonstrates his unchanged political views, claiming that when the Nazis take over the US, “they won’t have to make Negroes wear armbands,” clearly threatening that Blacks, like Jews in Nazi Germany, will 03...
Journal Article
Camera Obscura (1996) 13 (3 (39)): 77–103.
Published: 01 September 1996
... people really disappear. Verwehte Spuren powerfully participates in the political rhetoric of the Nazi period, rhetoric which figured Jewishness as a "godless plague," a disease contaminating the body of Germany." In Mein Kampf Hitler regards the nation's specifically sexual...
Journal Article
Camera Obscura (2006) 21 (2 (62)): 108–143.
Published: 01 September 2006
..., “imaginary wholeness.”14 Given the central role of film for Nazi propaganda, it is not sur- prising that a number of postwar German filmmakers have consis- tently attempted to sever ties to German film history through dis- 114  •  Camera Obscura parate techniques of alienation and critique. Beginning...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 36–53.
Published: 01 September 1991
... confirm that evil resides in specific bodies, particular psyches. Monstrosity as the bodily manifestation of evil makes evil into a local effect, not generalizable across a society or culture. But modernity has eliminated the comfort of monsters because we have seen, in Nazi Germany...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 151–175.
Published: 01 September 2000
...- gangenheitsbewältigung (specifically, working through the Nazi past), or to represent German national identity; instead, they are regarded as light low-budget entertainment or “women’s films.” In fact, most of his films are situated in a liminal space somewhere between...
Journal Article
Camera Obscura (2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
... German soldier Robert. Simultaneously, the transformation of Hitler into Robert hints at the displacement of difference onto an other, which is at the heart of Nazi ideology. Moreover, the dream literalizes the trope of the closet and thus locates both Jew and homosexual within a secrecy...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 47–75.
Published: 01 May 2001
... of Nazi activities prevented recognition of the image. This lack of recognition in a surveillance flight serves as the initial point for a series of wide-ranging reflections on vari- ous aspects of imaging technology, surveillance, and discipline...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 93–133.
Published: 01 September 2012
... by the powerful stories of the previous generation, shaped by monumental traumatic events that resist understanding and integration.”11 During Folman’s quest, his best friend, the therapist, tells him that the unconsciously assimilated memories of his parents imposed on Folman “the role of the Nazi...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 89–123.
Published: 01 September 2015
... in the context of Nazi Germany. His opponents are white Germans and, eventually, the undead. Other examples include the highly successful Medal of Honor (EA Games, 1999) and Call of Duty (Activision, 2003), both of which are set dur- ing World War II and take place in Europe. Demons, zombies...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... position within the postwar Jewish diaspora also references the effects of cross-border movements and twentieth-­ century geopolitical upheavals and distinguishes her within trans- national Nordic cinema. Bier’s father fled Nazi Germany to arrive in Denmark in 1933, while her mother’s family escaped...
Journal Article
Camera Obscura (2000) 15 (2 (44)): 41–73.
Published: 01 September 2000
.... Max W. Kimmich, 1943) developed a considerably coherent inventory of imperial visions and African fantasies. Furthermore, 02-Koepnick 40-73=34pgs 1/25/01 1:44 PM Page 66 66 • Camera Obscura before, during, and even after the Nazi period, specifically...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
... as they intersect with the filmmakers’ personal histories. Goodstein’s documentary, Voices From the Attic (1988, USA), traces the director’s 1987 trip to an attic in a small town in Poland where her mother, aunts, uncles, and grandparents hid for two years under Nazi rule. Goodstein is joined...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 77–107.
Published: 01 May 2020
... cinema s role in rehabilitation of ethics in post World War II Europe and Germany.3 I contend that during the second half of the twentieth cen- tury, genocide studies and related fields of research, overwhelmed by the indecipherability of the Holocaust and continuing difficulties in bringing Nazis...