97 research outputs found
The Perpetrator in Focus: Turn of the Century Holocaust Remembrance in "The Specialist"
In his controversial 1998 film, The Specialist, Israeli director Eyal Sivan casts the Holocaust in a new light
when he represents it through the eyes of the Nazi perpetrator. Sivan and his scriptwriter, human rights
activist Rony Brauman, re-assemble and manipulate footage originally filmed by Leo Hurwitz for Capital
Cities Broadcasting of Adolf Eichmann’s trial by an Israeli court in Jerusalem in 1961. Specifically, Sivan
recycles the video footage of the trial into a 16mm film that critiques, not the heinous nature of Eichmann’s
crimes, nor the depravity of the man who committed them, but the system of regulation that constructed and
judged Eichmann. While the video footage was originally filmed as a document of the trial, Sivan radically
redeploys the same images in a narrative that exposes the manipulations of the court, its representations and
the continued injustice of such institutions and representations today, 45 years later. According to The
Specialist, Eichmann’s actions are not on trial; they are a foregone conclusion. To prove Eichmann’s guilt or
innocence was not the point of the trial in the first place, and it is certainly not the goal of The Specialist.
Through its careful weaving of fragments of the proceedings, over the course of its narrative, The Specialist
reveals the relationship of otherness — the differences and identicalities — between Adolf Eichmann, the
‘deportation specialist’ and Attorney General Gideon Hausner for the prosecution. Simultaneously, the film
considers the relationship between Eichmann and the crimes of the National Socialist Party as they were
forged by the Israeli court
The Ambiguity of Amateur Photography in Modern Warfare
This article addresses a number of questions regarding the changing status and resultant interpretations of amateur photographs of war in the twentieth century. It reconsiders the photographs of the German army soldiers during World War II and the photographs taken in Abu Ghraib prison during the Iraq war with a view to finding a new approach to contemporary amateur photographs. This new approach shifts away from the study of the contents of the image to a focus on its ongoing reception and ideological effects. The article asks the following questions among others: Are amateur photographs of war and battlefields possible today? Or do amateur photographers and their portrayals of war belong to a bygone era? Have the provocations of amateur images that resist official versions of war been lost to the proliferation of digital possibilities, the overwhelming impact of consumer culture, and the domination of the mass media? Has the disquieting potential of the amateur vanished amid the glut of images of war and violence? If the answer to all these questions is no, then how can we identify amateur photographs of war
George Gissing--a pioneer in English realism
Thesis (M.A.)--Boston University, 1947. This item was digitized by the Internet Archive
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Lotte Reiniger
Lotte Reiniger made over sixty films, of which eleven are considered lost and fifty to have survived. Of the surviving films for which she had full artistic responsibility, eleven were created in the silent period if the three-part Doktor Dolittle (1927-1928) is considered a single film. Reiniger is known to have worked on—or contributed silhouette sequences to—at least another seven films in the silent era, and a further nine in the sound era. Additionally, there is evidence of her involvement in a number of film projects that remained at conceptual or pre-production stages
Changing how we look at and think about the color grey
A look behind the challenging, provocative, fascinating history of the color grey
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