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Holocaust Drama, Plunka


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Автор: Plunka
Название:  Holocaust Drama
Перевод названия: Плунка: Драма Холокоста
ISBN: 9780521494250
Издательство: Cambridge Academ
Классификация:



ISBN-10: 0521494257
Обложка/Формат: Hardback
Страницы: 447
Вес: 0.09 кг.
Дата издания: 02.04.2009
Серия: Cambridge studies in modern theatre
Язык: English
Размер: 235 x 158 x 28
Читательская аудитория: Professional & vocational
Подзаголовок: The theater of atrocity
Ссылка на Издательство: Link
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Поставляется из: Англии
Описание: The Holocaust has been portrayed in fiction, film, memoirs, and poetry; however, there has been a lack of information about the theater of the Holocaust. Including thorough critical analyses of more than thirty plays, this book explores the seminal twentieth-century Holocaust dramas from the United States, Europe, and Israel.


Holocaust

Автор: Neville, Peter
Название: Holocaust
ISBN: 0521595010 ISBN-13(EAN): 9780521595018
Издательство: Cambridge Academ
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Цена: 2723.00 р.
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Описание: An engaging range of period texts and theme books for AS and A Level history.

Holocaust Drama

Автор: Plunka
Название: Holocaust Drama
ISBN: 0521182425 ISBN-13(EAN): 9780521182423
Издательство: Cambridge Academ
Рейтинг:
Цена: 6970.00 р.
Наличие на складе: Есть у поставщика Поставка под заказ.

Описание: The Holocaust has been portrayed in fiction, film, memoirs, and poetry; however, there has been a lack of information about the theater of the Holocaust. Including thorough critical analyses of more than thirty plays, this book explores the seminal twentieth-century Holocaust dramas from the United States, Europe, and Israel.

The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Olga Gershenson)

Название: The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe (Olga Gershenson)
ISBN: 0813561817 ISBN-13(EAN): 9780813561813
Издательство: Mare Nostrum (Eurospan)
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Цена: 13167.00 р.
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Описание: Even people familiar with cinema believe there is no such thing as a Soviet Holocaust film. The Phantom Holocaust tells a different story. The Soviets were actually among the first to portray these events on screens. In 1938, several films exposed Nazi anti-Semitism, and a 1945 movie depicted the mass execution of Jews in Babi Yar. Other significant pictures followed in the 1960s. But the more directly filmmakers engaged with the Holocaust, the more likely their work was to be banned by state censors. Some films were never made while others came out in such limited release that the Holocaust remained a phantom on Soviet screens.Focusing on work by both celebrated and unknown Soviet directors and screenwriters, Olga Gershenson has written the first book about all Soviet narrative films dealing with the Holocaust from 1938 to 1991. In addition to studying the completed films, Gershenson analyzes the projects that were banned at various stages of production.The book draws on archival research and in-depth interviews to tell the sometimes tragic and sometimes triumphant stories of filmmakers who found authentic ways to represent the Holocaust in the face of official silencing. By uncovering little known works, Gershenson makes a significant contribution to the international Holocaust filmography.

First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46

Название: First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46
ISBN: 0822962241 ISBN-13(EAN): 9780822962243
Издательство: Mare Nostrum (Eurospan)
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Цена: 5405.00 р.
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Описание: Most early Western perceptions of the Holocaust were based on newsreels filmed during the allied liberation of Germany in 1945. Little, however, was reported of the initial wave of material from Soviet filmmakers who were in fact the first to document these horrors. In First Films of the Holocaust, Jeremy Hicks presents a pioneering study of Soviet contributions to the growing public awareness of the horrors of Nazi rule. Even before the war, the Soviet film Professor Mamlock, which premiered in the United States in 1938 and coincided with the Kristallnacht pogrom, helped reinforce anti-Nazi sentiment. Yet, Soviet films were often dismissed or even banned in the West as Communist propaganda. Ironically, in the brief 1939-1941 period of Nazi and Soviet alliance, such films were also banned in the Soviet Union, only to be reclaimed after the Nazi attack on the Soviet Union in 1941, and suppressed yet again during the Cold War. Jeremy Hicks recovers much of the major film work in Soviet depictions of the Shoa and views them within their political context, both locally and internationally. Overwhelmingly, wartime films were skewed to depict Soviet resistance, 'Red funerals,' and calls for vengeance, rather than the singling out of Jewish victims by the Nazis. Almost no personal testimony of victims or synchronous sound was recorded, furthering the disconnection of the viewer to the victims. Hicks examines correspondence, scripts, reviews, and compares edited with unedited film, to unearth the deliberately hidden Jewish aspects of Soviet depictions of the German invasion and occupation. To Hicks, it's in the silences, gaps, and ellipses that the films speak most clearly. Additionally, he details the reasons why Soviet Holocaust films have been subsequently erased from collective memory in the West and the Soviet Union: their graphic horror, their use as propaganda tools, and the postwar rise of the Red Scare in the United States and anti-Semitic campaigns in the Soviet Union.


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