Refractions of the Third Reich in German and Austrian Fiction and Film (Oxford Studies in Modern European Culture)
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Six decades after the defeat of National Socialism, commemoration and mourning are ongoing, open-ended projects in Germany and Austria, and continue to generate a steady stream of literature and film about the Nazi past that, while comparatively modest in volume, is often disproportionately influential in public debates. At the same time, new museums and memorials are being established all the time in what Andreas Huyssen has called a "memory boom," while what is remembered and how it is remembered is subject to continuous change. Scholars have to keep pace with each new development in this culture of commemoration. Rather than add to the growing body of surveys of literature and film about the Third Reich, this study instead puts scholars' critical approaches under the microscope. Chloe Paver considers how far the object of the study is not just analyzed but also constructed by the scholar's approach and identifies the criteria by which academics judge the values of works that deal with the Third Reich.
This book brings aspects of film, fiction, and memorial culture together in a single study that pays as much attention to images (and in the case of film to sound) as it does to text. The study of film, historical exhibitions, and sites of memory also demands consideration of social contexts and practices. A case study of memory at two of Austria's sites of terror demonstrates the methods used in the study of memorials and museums and considers the ways in which memory attaches itself to place.
also the writers) of the late 1960s had dealt with their parents’ involvement in National Socialism.3 Der Vorleser continues this process of putting into historical perspective the student protest movement and the Vaterliteratur that it generated, and attempts, like Vati, to confront the unpalatable fact that the perpetrators of Nazi crimes were loved; at the same time it can also be seen to mark the point at which the overused formula of the father–son conflict is finally rejected. 1 Peter
English-language film). Finally, the ‘disembodied’ quality of dubbed voices, already partially mitigated by improvements in dubbing technology, is in any case culturally relative: though an irritant to viewers in the English-language market, for whom real-language film is the norm, it is barely experienced as artificial by German-language viewers, for whom dubbed film is the norm. Where the choice of Malkovich does become problematical is in the representation of the transition from French to
out Cold War and post-Cold War discourses about the past. This is a particularly fruitful approach to Mauthausen because its role as a state memorial makes it an important locus of diplomacy. For instance, Austrian government files from 1964–5 show that permission for what is today known as the ‘GDR monument’ was granted only because the East German survivors’ organization was responsible for it, not the East German state, which Austria still refused to acknowledge even fifteen years after the
inmates. He also has local stonemasons carve huge letters and erect them along disused terraces in the quarry, spelling out the message: ‘Hier liegen elftausendneunhundertdreiundsiebzig Tote, erschlagen von den Eingeborenen dieses Landes. Willkommen in Moor’ (‘Here eleven thousand nine hundred seventy-three people lie dead, slain by the inhabitants of this land. Welcome to Moor’; p. 33 (p. 24) ). Foster identifies the source of this message as the inscription on a Soviet memorial that Ransmayr
11–22. Johnson, Sally, and Frank Finlay, ‘(Il)literacy and (Im)morality in Bernhard Schlink’s The Reader’, Written Language and Literacy, 4/2 (2001), 195–214. Kaes, Anton, From Hitler to Heimat: The Return of History as Film (Cambridge, MA, and London: Harvard University Press, 1989). Kittler, Friedrich, Grammophon. Film. Typewriter (Berlin: Brinkmann & Bose, 1986). Koshar, Rudy, From Monuments to Traces: Artifacts of German Memory, 1870–1990 (Berkeley and Los Angeles: University of California