Schindlers List
| Movie | |
|---|---|
| German title | Schindlers List |
| original title | Schindler's List |
 | |
| production country | USA |
| original language | English , German , Polish , Hebrew |
| Publishing year | 1993 |
| length | 195 minutes |
| age rating | FSK 12 |
| Rod | |
| directing | Steven Spielberg |
| script | Steven Zaillian |
| production | Steven Spielberg, Branko Lustig , Gerald R Molen |
| music | John Williams |
| camera | Janusz Kamiński |
| cut | Michael Kahn |
| occupation | |
Schindler's List (original title: Schindler's List ) is a 1993 American drama film directed and co-produced by Steven Spielberg . The screenplay is an adaptation of Thomas Keneally 's novel of the same name , which is based on true events. Schindler's List , a mixture of biographical film and historical film against the background of the Holocaust , tells how the German entrepreneur Oskar Schindler , a member of the NSDAP , treated around 1,200 Jewsspecially employed in his factories to save them from deportation and murder in the concentration camp Auschwitz-Birkenau .
The film was a huge commercial success, grossing over US$320 million worldwide. The numerous awards and recognitions included seven Academy Awards and three Golden Globe Awards . The film was an international media event , sparking numerous controversial debates.
Film critics described the film as a masterpiece: it was technically excellent, authentic and emotionally gripping. In addition, Spielberg brings up the courage to deal with the very serious issue of the Holocaust. Especially in the western world, and here especially in Germany, he was seen as a suitable means of enlightening people about the Holocaust. According to the critics, social problems such as Holocaust denial , anti-Semitism , racism and neo-Nazism can also be countered in this way. In many countries, the film was therefore used for political education in school lessons. Stimulated by Schindler's list , the treatment of the Holocaust itself was included in some educational plans.
In addition to being very popular, the film also provoked a discussion about the basic ability to represent the Holocaust using cinematic means. Critics accused the director of trivializing the Holocaust and depicting Jews as an impersonal mass with anti-Semitic stereotypes. In addition, Spielberg was confronted with accusations of engaging in cultural imperialism . In the Islamic world, the film was partly dismissed as Zionist propaganda and its showing in cinemas was banned.
The work is credited with having a lasting influence on the historical views of its audience. His contemporary German reception in particular was understood as an expression of a changed, more open approach to the National Socialist past. Following filming, Spielberg founded the Shoah Foundation , which recorded the experiences of tens of thousands of Holocaust witnesses in video interviews for use as teaching and training material for future generations. To mark the 25th anniversary, the film was shown again in cinemas in 2018 and 2019.
plot
In an apartment, Jews recite the blessing Kiddush , which begins the Shabbat . A close-up shows the dying flame of a candle before the previously colored film changes to black and white. After the beginning of the German occupation of Poland in 1939, German officials at the Kraków main train station recorded the personal details of a group of Jews who had just arrived, who, like many other Jews from Kraków and the surrounding area, were to be forcibly resettled by the Germans in their thousands to the Kraków ghetto .
In a dance hall, businessman Oskar Schindler , a member of the NSDAP , gets acquainted with Wehrmacht and SS officers and celebrates with them. He depends on her goodwill as he pursues his efforts to buy a run-down, bankrupt Kraków enamel factory . As a director, but without the necessary equity, he hires the Jewish accountant Itzhak Stern as his managing director and lets him raise money for the company purchase among his acquaintances. Schindler also had him hire Jewish workers from the ghetto, who cost him less than Polish workers and were allowed to leave the ghetto to work. Schindler uses the Jewish black marketeer Poldek Pfefferberg to procure materials and luxury goods. Schindler has crockery for German field kitchens made in the factory , thereby positioning itself as a reliable partner to the local SS officials. His only goal with the factory is to make a profit.
In Kraków, Schindler moves into an apartment from which a Jewish family had just been evicted. There his wife Emilie catches him in the presence of a lover. Since he doesn't want to promise Emilie that such an incident won't happen again, he lets her leave. After that, he continues the affair.
After Stern forgot to take his work permit with him, the occupiers wanted to get him and numerous other Jews out of the city by train. At the last second, Schindler ensures that Stern can get off the train again because he needs it in the factory.
In the winter of 1942/43, SS Untersturmfuhrer Amon Göth was responsible for setting up the Plaszow concentration camp , to which the residents of the Kraków ghetto were to be resettled. He moves into a villa above the quarry to which the concentration camp belongs and chooses the young Helene Hirsch from among the Jewish prisoners who set up the camp to be his housemaid for his new home. From time to time he ordered the arbitrary shootings of Jewish concentration camp prisoners or carried them out himself.
The ghetto is liquidated on March 13, 1943. As Schindler follows the evacuation from a hill above the ghetto, he notices a little girl who is wandering the streets alone and whose red coat is shown in color in the film. It then hides in the ghetto – as do many other residents, many of whom are shot as a result.
After the ghetto was cleared, Schindler was no longer allowed to dispose of Stern and its factory workers, which is why production is now at a standstill. He therefore turns to Göth personally and receives permission from him to continue employing Stern and the factory workers. In return, Schindler promises to pay bribes to himself and other SS people and institutions.
With Schindler's consent, Stern brings some concentration camp prisoners who were about to be shot by Göth as workers in the factory or enables them to continue working. This spread the reputation of Schindler's factory as a place of refuge and of Schindler as a good man among Jews. This becomes apparent to him when a Jewess, who lives in freedom under a German name, asks him to employ her parents, who are imprisoned in a concentration camp, in his company. Concerned that the SS might get wind of his factory's new reputation, he complains to Stern about it, but arranges for his parents to be hired.
In Göth's villa, Schindler secretly talks to Helene Hirsch, who suffers from Göth's arbitrariness, and assures her that Göth will not shoot her because he is too dependent on her. He then gives her a kiss on the forehead to comfort her. He also explains to Göth his understanding of power, according to which you have it if you have the right to kill someone, but don't necessarily do it, but show mercy. The next day, Göth initially behaved mercifully towards the concentration camp inmates, but shot one of them anyway. In his contempt for the Jews, he beats up Helene Hirsch one evening.
When Schindler celebrates his birthday, he kisses a Jewish woman who works in his factory and her daughter as thanks for a birthday present, in the presence of Göth and other SS officers. Meanwhile, the Jews in the Plaszow concentration camp are convinced that they will not be killed because they are needed as workers. Soon after, however, SS medics sorted out sick Jews and Jews who were unfit to work as part of a selection to make room for new Hungarian prisoners. Meanwhile, the SS also had many children removed from the camp. At the Kraków-Plaszow train station, Schindler showed sympathy for the prisoners locked in cattle cars and supplied them with water, while Göth and other officers at first laughed at his actions and then looked at them dumbfounded. A little later, Schindler was imprisoned in an SS prison for violating the Nuremberg Race Laws by kissing a Jewess. Göth successfully appeals to his superiors for his release.
On a sunny day in April 1944, Schindler was surprised to see ash raining down. The reason for this is that Göth has the corpses of thousands of Jews who were killed in the concentration camp and in the ghetto clearance exhumed and burned in heaps. Near the place of cremation, Schindler learned from Göth that the reason for this was the withdrawal order he had recently received. Schindler is shocked to see the young girl in the red coat among the exhumed corpses, which is shown here in color again.
Stern and the factory workers are also to be taken from the Plaszow concentration camp to Auschwitz. Supposedly in order to be able to ensure production that was vital to the war effort, Schindler arranged for him to keep his existing workers and have them, along with other Jews selected by himself and Stern, brought to Moravia and used there for the production of tank shell casings. For this, Schindler pays large sums of money to Göth. Helene Hirsch and numerous children also belong to the Jews. In fact, his goal is to save the Jews from being killed in Auschwitz. He dictated the names of all the Jews concerned, who numbered around 1,000, to Stern, who typed them into a multi-page list.
Separated according to gender, the Jews selected by Schindler left Plaszow in two trains consisting of cattle cars. While Schindler personally welcomes the male Jews to his new factory in his home town of Zwittau - Brünnlitz , which is connected to a subcamp, the other train is misdirected and takes the Jewish women straight to the Auschwitz-Birkenau concentration camp . After having their hair cut short there, they are relieved after waiting in a communal shower room to see water pouring from the showerheads. By bribing an SS officer with precious stones and using the argument that the workers involved were vital to the war effort, Schindler managed to get the Jewish women from the Auschwitz-Birkenau concentration camp to be taken to Brünnlitz.
After Schindler promised his wife that he would be faithful to her in the future, she returned to be close to him. When he learns that the shell casings made at his factory have all failed quality control, he orders the purchase of correct casings to claim as his own. He does not intend to produce functional shell casings. He allows Jews to celebrate Shabbat on Fridays. The flames of the candles that were lit can be seen in color again in the film. Within seven months of unproductive operation and as a result of using millions of Reichsmarks , including for bribery, Schindler's capital dwindles until he is almost penniless.
Shortly after the end of the war was announced on the radio, Schindler assembled the Jews and the German guards in the factory. In a personal appeal, he gives the guards the choice of shooting the Jews immediately and as ordered, or returning to their own families as men rather than as murderers. They decide in favor of the latter before Schindler, together with the Jews, observes a three-minute silence to commemorate the many dead of their people.
Soon after midnight, Schindler and his wife leave the factory to flee the approaching Red Army . When he says goodbye to Stern and his workers, they hand him a letter of protection signed by everyone, in which they document his saving actions. As a token of gratitude, they also give him a ring made from dental gold, engraved with the Hebrew quote from the Talmud : “Whoever saves just one life saves the whole world.” In front of Stern, Schindler weeps, regrets not more people to have saved.
Three days later, a Russian dragoon announces to the Jews that they have been liberated by the Red Army. Then the Schindlerjuden can be seen walking together across a field, initially in black and white towards the end of the war, then in color at the time the film was made. In a short sequence – again in black and white – Göth's execution by hanging is shown; afterwards there is some information about the further life of Oskar Schindler via subtitles. The last frames of the film are original recordings at Schindler's grave in Jerusalem, where Emilie Schindler, Itzhak Stern's widow and the " Schindlerjuden " who were still alive at the time met with the film actors during filming. According to Jewish tradition, they all lay a stone on Oskar Schindler's grave before Liam Neeson , the actor who played Oskar Schindler, lays a rose on the grave.
origin story
idea and project planning
The film tells the true story of the German-Moravian entrepreneur and NSDAP member Oskar Schindler (1908-1974), who, supported by his wife Emilie , employed over 1200 Jews in his factories during the Second World War to save them from being murdered in the Nazis - to preserve extermination camps . Their names were recorded in a list . From the late 1940s , some of those who were rescued reported on Schindler's mission in press articles. In order to make the events accessible to a wider audience, Leopold Pfefferberg , a Schindler Jew who had emigrated to the USA, got involved in filming the story. With Schindler's consent, in 1950/51 he suggested such a project to the Austrian-American director Fritz Lang , who also showed interest. However, a corresponding film project did not materialize. In the years that followed, Schindler himself negotiated – albeit unsuccessfully – about the rights to the exploitation of his story, with Walt Disney , among others .
In 1963/64, Pfefferberg came into contact with Martin Gosch , a screenwriter with connections to the Metro-Goldwyn-Mayer (MGM) film studio. Gosch acquired the film rights for himself and MGM from Schindler and then collected material for the screenplay, which was almost completed by mid-1965. Richard Burton was slated to star in the planned film . However, this time there was no film adaptation either, in October 1965 MGM announced the discontinuation of the project (see main article: Until The Last Hour ) .
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In 1980, Pfefferberg happened to meet Australian writer Thomas Keneally , whom he persuaded to write a novel about Schindler's story. The author interviewed more than 80 Schindler Jews and processed their statements in a semi-documentary work that was published in 1982 under the title Schindler's List . Shortly before its completion, Keneally sent a pre-draft of the book to several Hollywood film studios. However, many rejected a film adaptation because of the size. Sidney Sheinberg , head of the film studio Universal Pictures , eventually brought the novel to the attention of director Steven Spielberg . Spielberg was intrigued by the story, particularly Schindler's ambivalent character as a Nazi rescuing Jews. Universal then acquired the rights to film the book in 1982 at a price of US$500,000. Because Spielberg only had experience with entertainment films at the time, he did not yet feel up to the difficult topic of the novel and initially refrained from making a film. When asked by Pfefferberg in 1983 when he planned to start filming the book, Spielberg replied: "In ten years from now".
Meanwhile, South African filmmaker Jon Blair directed the British television documentary Schindler , based on the novel. It was published in 1983 and also contains interviews with Schindlerjuden. Blair only got approval for the film with Spielberg's support, who was able to convince the rights holder Universal.
At Spielberg's instigation, the Oscar -winning screenwriter Kurt Luedtke was later hired to film the novel. However, he withdrew after more than three years because he said he did not see enough support from Spielberg. Spielberg then attempted to turn off the film adaptation of Keneally's book to other directors, including Sydney Pollack and Roman Polański , in the mid-1980s . In 1988, Spielberg hired director Martin Scorsese to direct the film in exchange for agreeing to produce it himself. After Steven Zaillian penned a new screenplay for Scorsese, Spielberg unceremoniously took over directing and instead turned Scorsese over to direct the thriller Cape Fear .
Spielberg made the final decision to shoot the film during his first visit to Kraków in 1992. One of the decisive factors was his former shame at being a Jew himself. Spielberg said in an interview that he saw the film as an "apology for [the] cowardly attempts" since childhood to hide his Jewish ancestry from others. Director Billy Wilder Spielberg , among others, had previously encouraged this step. According to Spielberg, it was also important to take a stand against the then emerging ethnic cleansing in Bosnia and Iraq.
Because Universal Pictures classified the commercial chances of success as low, the production should take place as a low-budget film . In addition, Spielberg was previously scheduled to direct the film Jurassic Park . For marketing reasons, Universal initially opposed Spielberg's plan to release the work as a black -and-white film, but later gave in to the director's urging.
pre-production
In addition to his work as a director, Spielberg also participated as a co-producer . Other co-producers included Gerald R. Molen and Croatian Holocaust survivor Branko Lustig , who brought his experiences from the Auschwitz-Birkenau concentration camp to the production. As a cameraman , Spielberg hired the young Polish émigré Janusz Kamiński . The budget was US$22 million.
While Keneally's novel is written from the perspective of Schindler's Jews, Zaillian's screenplay tells the story from Oskar Schindler's point of view. Zaillian dispensed with a number of details and characters from the novel in favor of the character of the Jewish accountant Itzhak Stern , which he emphasized more strongly . Due to Spielberg's research, there were extensive changes and additions to the screenplay after the start of shooting, which grew from 130 to 190 pages. Along with Keneally's novel, Blair's documentary was also important to Spielberg's film, as the British actors used it to prepare for their roles.
During pre-production , Spielberg had received regulatory approval to shoot some scenes on the grounds of the Auschwitz-Birkenau concentration camp. However , the World Jewish Congress protested at the Polish embassy in the United States, expressing fears that the place where more than a million Jews died would be desecrated by the unrestricted activities of a commercial film crew. The International Council of the Auschwitz-Birkenau State Museum later joined the protests. After meeting Spielberg in February 1993, the director gave up his plan to film on the grounds of the concentration camp. Instead, the barracks to be filmed were set up outside the site, near the access track to the Auschwitz-Birkenau concentration camp.
Contrary to plans by Universal Film Studio to shoot the film on color material and then recolor it in black and white for release, much of the film was shot directly on black and white film to ensure consistency with documentaries and images from the 19th century to ensure World War II. However, filming in black and white made special demands on the costumes of the actors. For example, it was necessary to do without white and flesh-colored clothing without compromising historical authenticity. Around 18,000 costumes were available for the approximately 7,000 extras. Colored scenes of the film were subsequently colored, including the red-robed girls called "Red Genia".
Oskar Schindler's final speech to his factory workers is based on records handed down by a Schindler Jew.
The credits also include a credit for "Steve Ross". This is the media manager Steven Ross , who died shortly before shooting began, and who served as a source of inspiration for Spielberg's characterization of Oskar Schindler. To this end, Spielberg presented leading actor Neeson with some videos featuring Ross, whose personality and expressiveness he found to be very similar to that of the real Oskar Schindler.
Cast and German dubbed version
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It was Spielberg's intention not to cast a star in the lead role of Oskar Schindler, lest the character be overshadowed by the actor's fame. In addition to American actors Mel Gibson and Kevin Costner , Polish actors Piotr Fronczewski and Andrzej Seweryn were also being considered for the role . In addition to Seweryn, the Irishman Liam Neeson was shortlisted , who had already appeared in a few films but was not considered a star. Spielberg chose Neeson to star after following him in a Broadway performance of the play Anna Christie . Before Englishman Ralph Fiennes got the role of Amon Göth , Spielberg had unsuccessfully offered it to German Götz George as well .
There are 126 speaking roles in total in the film. Spielberg cast the most important Jewish of them with Israeli actors, including many children of Holocaust survivors ; others went to Catholic Poles from Kraków and the surrounding area. The extras were hired in Poland for the sake of authenticity.
The German dubbed version was created by Berliner Synchron based on a dialogue book by Erik Paulsen and directed by Osman Ragheb . Ragheb had previously worked on the film as a language and dialect coach, and as such had helped American actors speak in English with a European accent rather than an American accent.
filming
Filming began on March 1, 1993, lasted 75 days and lasted until the end of May 1993. It was realized by a crew composed mainly of Polish employees, but also including those from England, Croatia, Austria, Germany, Canada, Israel and the United States States, including many Americans of Polish origin. Over 148 sets and 34 locations in and around Kraków were available for filming. During the shooting of Kraków, Spielberg also worked on the editing of the dinosaur film Jurassic Park , which he directed .
Most of the filming took place at original locations. In Kraków, most of the filming took place in the districts of Podgórze , the site of the Kraków ghetto , and Kazimierz , the old Jewish quarter. In order to avoid Kraków's modern silhouette appearing in the picture, no film was made at the actual location of the Plaszow concentration camp . For this purpose, the concentration camp was rebuilt on the nearby site of a quarry in Płaszów . The reconstruction was one of the tasks of Lew Rywin 's Polish film production company Heritage Films and cost US$ 600,000. It was based on the plans of the original camp and consisted of 34 barracks, seven watchtowers and the access road paved with Jewish tombstones. The villa occupied by Amon Göth above the quarry was also rebuilt for the shooting. The exterior and office shots set at Oskar Schindler's enamel factory in Kraków were filmed on the original location, while the other interior shots of that location were shot at an enamel factory in Olkusz . The small town of Niepołomice served as the location for the location Brünnlitz .
In order to achieve the most direct, realistic and documentary effect possible, Spielberg refrained from using camera cranes and dollies when filming . On the other hand, he forced a large part of the film to be shot with a handheld camera, which ultimately amounted to around 40 percent. Cinematographer Kaminski was largely inspired in his work on the film, particularly in the use of light and shadow, by the images taken by US photographer Roman Vishniac , who had photographed Jewish settlements in Eastern Europe in the 1920s and 1930s.
The final scene was filmed in the Jerusalem Catholic Cemetery, where Oskar Schindler's grave is located on the slopes of Mount Zion . Spielberg only decided on this location during the shooting in Kraków. Spielberg invited over 300 Schindlerjuden from all over the world to film. Each of them received 22 US$ for this, which was collectively donated to Emilie Schindler .
post production
At almost four hours, the original cut was too long for Universal, so the film was shortened. Deleted scenes include the delivery of a boxcar full of frozen corpses to Brünnlitz and a game of seventeen and four between Schindler and Göth, playing for Göth's maid, Helene Hirsch.
Spielberg entrusted the composition of the film music to the multiple Oscar-winning American composer John Williams , with whom he had worked on several previous films. Williams initially turned down Spielberg's request as he found the task too challenging. After Spielberg pointed out that the composers who were better suited for this were already dead, Williams was persuaded. The film's main theme was scored by Jewish violinist Itzhak Perlman , with the rest largely performed by the Boston Symphony Orchestra .
restoration
In 2012, to mark the 100th anniversary of Universal Studios , Schindler's list was among 13 films restored by the company . Under Spielberg's supervision, the film was rescanned from the original negatives to be available in 4K resolution . Based on this, a color correction was made and unwanted image artifacts were removed. Between 20 and 30 people worked on the restoration of the film over a period of five months. Eventually, new 35mm film prints , a new 35mm negative, and a new Digital Cinema Package emerged .
publication
Theatrical release 1993/94
Before the film was released in cinemas, there were closed screenings in the USA, Israel and European countries, attended not only by the director but also, similar to a state ceremony , by the head of state or head of government. Universal initially adopted a release strategy of minimizing marketing expenses for the film, showing it in only 25 cinemas when it opened in the United States on December 15, 1993. As a result of the overwhelmingly positive response, the studio screened the film in an increasing number of theaters in the months that followed, about 100 in January 1994 and about 1,250 in March 1994. Rated R , the film was open to under-17s Depictions of sexuality and violence are only recommended when accompanied by adults.
The film was shown in Canada from December 25, 1993, in Australia, Japan and the United Kingdom from February 1994. It was released in cinemas in a large number of countries in March 1994, including in Germany (from March 3) , Swiss and Austrian (each starting March 4) as well as in Israeli, Polish, French, other European and Latin American cinemas.
In Germany, the film received a youth release from the FSK from the age of 12. There, the distributor United International Pictures (UIP) initially brought the film to cinemas with 45 copies . Newspapers suggested fear of right-wing and anti-Semitic protests as a possible reason for this relatively small number; In this context, UIP pointed out the possible consequences of applause during shooting scenes. With regard to the new federal states , for which there were initially only 13 film prints, the media spoke of an undersupply. UIP also explained the low number of copies by saying that copying black and white shot material takes significantly more time than color material and promised to increase it. Ultimately, the film was shown in at least 500 German cinemas.
In the Muslim -majority countries of Indonesia , Dubai , Egypt , Jordan , Malaysia and Lebanon , the film's showing has been banned by the state. This was primarily justified with scenes of violence and nudity and an allegedly pro - Zionist attitude of the film (see main section: Islamic world ) . In Syria , Saudi Arabia , Pakistan , India and Iraq , the distributor had no intention of showing the film. In the Philippines , President Fidel Ramos reversed the censorship board 's initial decision to conditionally approve the film for sex and nudity. In Thailand , too, the film was only approved for showing after some hesitation.
The film grossed approximately US$321 million worldwide when it premiered . The United States accounted for around US$96 million of this, and of the remaining 70 percent, Germany accounted for US$38.5 million, Switzerland for US$5.7 million and Austria for US$3.6 million. The film had around 25 million cinemagoers in its country of origin, and around 6.2 million in Germany, including many young people and schoolchildren.
| Country | theatrical release | box office result |
number of visitors |
age rating |
|---|---|---|---|---|
| United States | Dec 15, 1993 | US$96.1 million | 25 million | R, ie recommended from 17 years ( MPAA ) |
| Canada | 25 Dec 1993 | ? | ||
| Australia | 10 Feb 1994 | US$7.0 million | ||
| United Kingdom | 18 Feb 1994 | US$21.2 million | Approved from 15 years ( BBFC ) | |
| Japan | 26 Feb 1994 | US$32.8 million | ||
| France | March 2, 1994 | US$17.2 million | 2.6 million | Avertissement, i.e. not classified ( CCŒC ) |
| Germany | March 3, 1994 | US$38.5 million | 6.2 million | Approved from 12 years ( FSK ) |
| Switzerland | March 4, 1994 | US$5.7 million | Approved from 12 years, recommended from 14 years ( SK JiF ) | |
| Austria | March 4, 1994 | US$3.6 million | ||
| Poland | March 4, 1994 | US$1.8 million | ||
| Israel | March 4, 1994 | US$2.2 million | ||
| Italy | March 11, 1994 | US$16.8 million | ||
| Czech Republic , Slovakia | March 11, 1994 | US$0.1 million | ||
| Russia | ? | ? | 0.23 million |
TV broadcasts
| country | date | Channel | Range | market share |
|---|---|---|---|---|
| United States | 23 Feb 1997 | NBC | 65 million | |
| Germany | March 28, 1997 | ProSieben | 6.7 million | |
| Italy | May 5, 1997 | Rai Uno | 12.3 million | 50.8% |
| United Kingdom | October 1997 | > 7 million | ||
| Israel | Apr 23, 1998 | channel 2 | 48.8% |
The film premiered on television in the United States on February 23, 1997. For the broadcast at 7:30 p.m., it was shortened by a few seconds with the participation of the director, especially in sex scenes for the protection of minors. Network NBC showed it without commercial breaks, complying with Spielberg 's requests for special treatment for the film. The broadcast was sponsored by the car manufacturer Ford , which ran a 60-second commercial immediately before the beginning and after the end of the film.
In Germany, the film was broadcast for the first time by the private broadcaster ProSieben on Good Friday 1997 in the main evening program. He was once interrupted by a news broadcast that included two advertising blocks and was sponsored by the Rewe retail group. When it was later broadcast on German and Austrian television, including on the stations of the ProSiebenSat.1 Group and the RTL Group , the film was also shown without commercial breaks, with end credits and without the station logo being displayed.
The film premiered in Italy and Israel on Yom Hasho'ah , the Israeli national holiday commemorating the victims of the Shoah and the Jewish resistance fighters. As with the first broadcasts in other countries, including Germany, the Italian premiere of the film was flanked by thematically related programs, ie shown together with documentaries about the Holocaust. The Italian broadcaster Rai Uno even made the day of the first broadcast a theme day , the first with this theme in Italian television history.
In several countries, the first broadcasts achieved exceptionally high ratings and in some cases set records. Approximately 65 million people saw the film in the United States, making it the most-watched show of the 1996/97 US television season, barring sports coverage. In Italy it achieved one of the highest market shares since 1987, in Israel the highest market share in the first decade of Channel 2 's existence .
home theater
| format | USA | Germany |
|---|---|---|
| vhs | 17 Aug 1994 | Jan 18, 1995 |
| Laser Disc | Sep 21 1994 | 1994 |
| DVD | March 9, 2004 | Apr 2, 2004 |
| Blu ray | March 5, 2013 | Apr 11, 2013 |
| Blu-ray (25th Anniversary) | 18 Dec 2018 | March 28, 2019 |
| Ultra HD Blu-ray | 18 Dec 2018 | March 28, 2019 |
The film was released in all common home cinema video formats, including video-on-demand providers. CIC Video released the German version on January 18, 1995 as a video cassette for sale. The film was released on DVD in 2004 and on Blu-ray in 2013 – and thus in full HD resolution – in the restored version; the US edition and some German-language editions of this publication are placed under the film's 20th anniversary in the title.
Following the cinema re-release of the film, the film was released again on Blu-ray in December 2018 (USA) and March 2019 (Germany) and for the first time - in Ultra HD image resolution and with Dolby Atmos surround sound - on Ultra HD Blu ray . In the German edition of this edition, the film is also included for the first time in a barrier -free format with a German audio description .
In reviews, the picture and sound quality as well as the features of the DVD, Blu-ray and UHD Blu-ray editions were mostly rated as very good, sometimes as outstanding. Part of the equipment was sometimes also a booklet , a poster, a soundtrack CD or documentaries. The latter includes the film Voices from the List , released for the first time on DVD, in which Holocaust survivors comment on events from the film. The 2018 UHD Blu-ray and Blu-ray editions include, for the first time, Schindler's List: 25 Years Later , a recording of a panel discussion between film critic Janet Maslin , the director and cast members about the making of the film.
soundtrack
The film's 14-track soundtrack was released on cassette and audio CD by MCA Records on December 16, 1993 . To mark the film's 25th anniversary re -release, on November 27, 2018, La-La Land Records released a six-track expanded edition of the soundtrack, limited to 4,000 copies.
Cinema re-release 2018/19
To mark the 25th anniversary of its first showing, the film was re-released in cinemas in a version that has been digitally reworked from the original theatrical version, but the content has not changed. In the USA and Canada it started on December 7, 2018, in Germany, Austria and Switzerland from January 27, 2019, the International Holocaust Remembrance Day and the German Day of Remembrance of the Victims of National Socialism . The box office of the revival was around 833,000 US$ in the USA and around 184,000 euros in Germany.
Public reactions, criticism and pedagogical discussion
International
Introduction and overview
| originator | evaluation |
|---|---|
| Rotten Tomatoes | Tomatometer: 98% aggregated from 128 individual ratings |
| Metacritic | Metascore: 94/100 aggregated from 26 individual ratings |
| CinemaScore | A+ |
| FBW | "Particularly valuable" |
| Movie Service ( LdIF ) |
 
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| epd movie |
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In the course of its release in 1993/94, the film caused a worldwide media echo, the extent of which observers described as virtually unprecedented. Years later, the scope and variety of reactions to the film were still considered immense and outstanding.
When the film opened in the United States in late 1993, Spielberg was already the most commercially successful director in the world. His 15 films to date, including mainly entertainment films such as Jaws and ET - The Extra-Terrestrial , had grossed over US $ 4 billion; and his film Jurassic Park , released a few months before Schindler's list , was the world's highest-grossing film of all time. Spielberg was thus considered a representative of the culture industry par excellence. In view of this, even before Schindler's list appeared, many critics expressed skepticism about whether he would succeed in doing justice to the seriousness of the Holocaust issue.
In the western world, film was understood by journalists, scientists and politicians as a means of conveying knowledge about the Holocaust and learning lessons from it; as a tool against Holocaust denial and ignorance and to combat contemporary issues such as anti-Semitism , racism , and neo-Nazism . In his acceptance speech at the Academy Awards in March 1994, Spielberg called for more Holocaust awareness and historiography worldwide and demanded, "Please teach this in your schools!" That's how it happened and, with the support of politicians, the film was widely used in school lessons in the USA, Germany, Austria and other countries from 1994 onwards. An enlightening effect was not only attributed to the film in the context of its first cinema release, but also and especially in the course of its cinema re-release, in which the film was advertised as a "story of courage that the world needs today more than ever before". this was a dominant reaction in media reports.
Triggered by the release of the film, the media also introduced the historical person Oskar Schindler to the public. In numerous contributions, they discussed his work to save the Jews during the Second World War and his life after the war. In addition, the media focused on people who, like Schindler, were also involved in rescuing Jews during the Holocaust, such as the Japanese Chiune Sugihara . Schindler thus became a symbolic figure for people who had worked to save Jews during the Nazi regime. Triggered by the increased interest in Schindler and the release of the film, the documentary film Schindler was released in the USA and Germany in 1994. Also due to the film, Keneally's novel became a bestseller in Germany in 1994, after having sold 5,000 copies by then met with little interest.
In the reception of the film, reference is often made to earlier cinematic works that deal with the Holocaust. Among them is the four-part US television series Holocaust - The History of the Weiss Family (1978), which tells the fictional story of a Jewish family of doctors from Berlin at the time of National Socialism . When it was first broadcast in Germany in 1979, there was a broad debate in West Germany because it brought the Holocaust to the attention of the public, which had previously denied many aspects of it. The nine-hour documentary film Shoah was made by the French director Claude Lanzmann . Published in 1985, it tells of the systematic extermination of the Jews by the National Socialists, primarily based on long interviews with eyewitnesses, and dispenses entirely with historical film material.
representability of the Holocaust
The question of whether the Holocaust could be represented at all with artistic or cinematic means was controversially discussed. A defining and much-cited voice among the representability opponents was Claude Lanzmann, whose criticism first appeared on March 3, 1994 in the French newspaper Le Monde and a little later in other languages and countries, including German translated in the FAZ and in the Standard . According to Lanzmann, it was his "deepest conviction" that any depiction was forbidden and that fiction was fundamentally a transgression of the level of horror surrounding the Holocaust. This is unique in that it surrounds itself with a "circle of flames," a limit that must not be crossed "because a certain, absolute level of atrocities is non-transferrable"; whoever transgresses it is "guilty of the worst transgression." Against this background, the film trivializes the Holocaust just as the Holocaust television series did. As an example of the fundamental "problem of the picture, the whole problem of the representation", he cited the SS officers that Schindler tried to enlist and who appeared "not at all unsympathetic" at dinner with him. Lanzmann saw the film as an alternative to his documentary Shoah and therefore also as unacceptable: He believed that "certain things would no longer be feasible after the Shoah . Well, Spielberg made them.”
The American historian Raul Hilberg was just as clear as Lanzmann . In the French weekly Globe Hebdo he wrote that there was "only one Claude Lanzmann, only one Shoah " and that nothing "better or more of it" could be made. Desiring to treat the extermination of the Jews as a fiction is impossible, Hilberg said. Israeli historian Tom Segev stated in Haaretz that the Holocaust did not require "dramatic injections or emotional manipulation."
Siegfried Kohlhammer, for example, contradicted Lanzmann's position. In Merkur he thought it was wrong "if a film about survival in the name of death, if in the name of the absolute the images of horror" were condemned as, as Lanzmann put it, "the worst transgression". Against the background that in the film people were interested in their survival, Lanzmann's view that the Holocaust had no end was to be defended against images and stories about "the dirty personal life and survival". The fact that the film showed "us" the horrors of the Holocaust just as vividly as the values in whose name "we" condemned it is "not bad or pointless".
Numerous other authors contradicted the opponents of depictability or advocated the depictability of the Holocaust. The Israeli historian Yehuda Bauer , for example, called Segev's relevant "ideological platform" in Haaretz "complete nonsense" and that Spielberg's chosen codes for dealing with the Holocaust were "adequate for dealing with the devil". The Dutch filmmaker Ludi Boeken opined in the newspaper Liberation that nobody "owns the copyright over the memory". Other, similar opinions were expressed by authors in the taz , Weltwoche , ZEIT and Spiegel , among others .
The scene in which water instead of deadly gas actually flows out of the showers in the Auschwitz extermination camp, under which the naked Jewish women stand in mortal fear and panic, is highly controversial. Leon Wieseltier , for example, criticized in US magazine The New Republic that it was a "sadistic ploy" and exemplified the lack of any humility in the face of the film. Urs Jenny disagreed in Der Spiegel and said that it was "not a question of taste or discretion" to show something like this in a feature film, but "of courage and art."
Other important aspects of the criticism
The film was praised by many critics for its technical implementation. Roger Ebert , for example, wrote in the Chicago Sun-Times that the film was "brilliantly acted, written, directed and to behold" and that individual scenes were "masterpieces of artistic direction, cinematography, special effects, crowd control." Many critics noted that Spielberg made the protagonist Oskar Schindler no less ambivalent in the film than he appears in Keneally's novel or as historically recorded; that it offered no definitive explanation as to why Schindler had transformed himself from an opportunistic war profiteer to a savior of the Jews.
It was criticized as incorrect that Schindler, a successful Nazi, was portrayed as positive, ie as a “good German”. For example, in The New York Times , critic Diana J. Schemo called it "embracing the specificity and calling it history." Similar are the opinions of Raul Hilberg, Claude Lanzmann and the Hungarian Auschwitz survivor and Nobel Prize winner for literature Imre Kertész . He criticized in an interview in a 2009 supplement to the Standard that it was the "worst film of all" because of the film's starting point, positive thinking and telling the story from a winner's point of view. The starting point for a concentration camp film could only be "the loss, the defeat of European cultural civilization."
The French-Swiss director Jean-Luc Godard repeatedly criticized Schindler's list and Spielberg's work in connection with the Holocaust. He did this, among other things, in 1995 by refusing an award from the New York Film Critics Association for his life's work as a critic, but also with his internationally performed feature film On Love ( Éloge de l'amour , 2001). A detailed analysis of the criticism revealed that, according to Godard's main objection, the film constitutes a morally uplifting view of the Shoah and at the same time prevents a serious examination of the historical event.
Jewish and Israeli critics in particular criticized the role of the Jews in the film. These would be presented as an impersonal mass with no individual idiosyncrasies. For example, Auschwitz survivor Cordelia Edvardson criticized the film in Svenska Dagbladet as hurtful and barely touching. Not all critics agreed. The film critic Ralf Schenk , for example, found the film in Neues Deutschland so convincing precisely because the director repeatedly succeeded in "pulling out the individual from the masses, linking the fate of the Jewish people with that of each individual representative". This is shown, among other things, by the Jewish nurse who administered poison to her patients before the ghetto hospital was stormed. In the taz , Micha Brumlik contradicted the criticism that the film only showed Jews as victims, arguing that historically – and not cinematically – they could not appear as key actors during the Holocaust against the Jewish population of Poland.
The film was also well received by other Holocaust survivors. For Ruth Klüger , for example, it was "the most impressive cinematic work on the Jewish catastrophe" in the Deutsches Allgemeines Sonntagsblatt , and it is characterized by dynamism, fullness of life, tension and offers of identification. Some critics, including those who were mainly positive about the film, were bothered by the end of the film. They found it too sentimental, maudlin and pathetic. Ralf Schenk, for example, described it as an "excessive summary" because of the image of the Schindlerjuden, who are moving towards the viewer in a chain that fills the canvas and on their way to the Promised Land.
Impetus for Holocaust testimonies
Spielberg had announced early on that he would forego advertising revenue from the film and invest all profits in charitable projects related to the Holocaust. To that end, and because he was unwilling to keep "blood money," he founded the Righteous Persons Foundation in 1994 , to which he donated his share of the film's earnings. According to an entry from 2014, the foundation has since spent more than US$ 100 million to support Holocaust remembrance work and Jewish art and culture.
During filming, but also afterwards, Holocaust survivors personally asked Spielberg to make their own experiences accessible to the public after Oskar Schindler's story. This gave rise to the idea of creating an archive of video recordings in which the survivors talk about their memories of the Holocaust and which will be preserved for posterity. For this, Spielberg founded the Survivors of the Shoah Visual History Foundation in 1994 with the film's other producers . He subsidized its initial $60 million budget using the Righteous Persons Foundation with approximately $6 million from his earnings on the film. In its first five years, the Shoah Foundation recorded over 50,000 interviews with Holocaust survivors and witnesses from around the world. The videos were made accessible in the newly founded Visual History Archive , which quickly became the world's largest oral history archive and significantly shaped the general perception of Holocaust survivors. The Foundation has also acted as a production company for documentaries centered on Jewish survivors, including the Oscar-winning film The Last Days (1998).
Analysis of the oral history recordings by the Shoah Foundation and Washington's Holocaust Memorial Museum found the film to be the only pop culture product to be featured to any significant extent in the recordings and an important starting point for discussion of changes in commemorative culture the Holocaust.
The film enabled Schindlerjuden to convey their perspective in forms other than oral history recordings. For example, some of them, including Laura Hillman and Mietek Pemper , published their memoirs. Stella Müller-Madej's book The Girl from the Schindler List was only published by a Polish publisher after Spielberg's visit to Poland in the course of the film in 1994, which had rejected the year before for economic reasons. Interviews with more than 40 Schindler Jews appeared in Elinor J. Brecher's book I Was on Schindler's List ( 1994 ). The Pole Roma Ligocka identified with the girl dressed in red in the film and worked through her childhood spent in the Kraków ghetto in the book The Girl in the Red Coat (2000).
The film also became a door opener for Holocaust survivors at schools and universities, where they could get in touch with young people. In the UK, for example, the film resulted in the first structured program to bring survivors directly into classrooms.
United States
Reactions from critics and politicians
The film was released in the United States at a time when 22 percent of respondents to a poll of Americans believed it was possible that the Nazi extermination of the Jews never happened, and when more than 50 percent of high school -Students didn't know the meaning of the word "Holocaust". US critics classified the film precisely against this background. They affirmed the need for another Holocaust film , Schindler's List , and judged it to be an appropriate, enduring bulwark against Holocaust denial and ignorance. Also in 1993, a few months before the film was released, the Holocaust Museum in Washington, DC had opened, which is one of the reasons why dealing with the Holocaust received special attention. A mutually beneficial effect was attributed to the film and the museum.
US President Bill Clinton was among those who attended the US opening performance on November 30, 1993 at Washington's Holocaust Museum . He then recommended that every one of his compatriots watch the film, also to convince the American public of military action against “ ethnic cleansing ” in Bosnia . Host Oprah Winfrey confessed on her talk show that watching the film made her a better person, and the director of the Anti-Defamation League there advocated the film as a remedy for hate.
In its country of origin, Schindler's list received mostly positive reviews when it was first published, which appeared primarily when it was released in US cinemas in mid-December 1993. The critics of the leading media were partly euphoric. For example, in The New Yorker magazine , Terrence Rafferty hailed the film as "by far the finest fully dramatic (ie, non-documentary) film ever made about the Holocaust." Directness” like this film had.
Many critics praised not only Ben Kingsley's portrayal of Itzhak Stern, but also that Stern's relationship with Schindler evolved over time. Seattle Times critic John Hartl , for example, saw Stern as a proxy for viewers, who also felt threatened when Stern's life was in danger; Stern is the person trying to make sense of the ongoing, unmanageable disaster. Other critics, however, disagreed with Stern's characterization. Ilene Rosenzweig of the Jewish magazine The Forward , for example, singled out Stern as the "king of the Jewish cowards" in connection with the impersonal depiction of the Jews as a mass.
Author Philip Gourevitch disagreed with the notion that Schindler appeared no less ambivalent in the film than in Keneally's novel . In both the Washington Post and Commentary , he criticized that Spielberg's omissions in characterizing the protagonist stripped Schindler of his human complexity and replaced it with nothing. Gourevitch praised the film as an impressive cinematic achievement that confirmed Spielberg's technical mastery in the medium of film. However, he also challenged The New Yorker's Terrence Rafferty's assessment that Spielberg's directing performance was as miraculous as Oskar Schindler's rescue efforts. This impulse to crown Holocaust memorialists as heroes is "an all-too-common form of contemporary flattery," Gourevitch said.
Gourevitch's opinion was one of a series of negative reviews whose authors opposed the previous, unanimously positive, reviews. The critic Jim Hoberman , who in his polemic, which first appeared in the Village Voice and later also translated into German in the taz , posed the rhetorical question of whether the Holocaust itself could be “Spielbergized” , also contradicted the praising voices . Also in response to the film's widespread reception, the Village Voice reprinted a symposium in which James E. Young , Art Spiegelman and six other critics, academics and artists discussed the film, including stating that it was not the last word on the Holocaust.
In the New Yorker in March 1994, Stephen Schiff repeated Spielberg's statement that the film would have failed if it had been entertaining. But Schiff, in the following paragraph, hailed entertainment as the film's "almost unspeakable secret," saying part of its awesomeness comes from the fact that it moves "quickly and energetically," it tells its "story with flair and contentment," it has catharsis alongside pain offer and in short is not a lesson, but a work of art. Because Spielberg dealt with the very serious topic of the Holocaust with the film, critics credited him with having now come of age. For Spielberg, Schiff continued in the New Yorker , the film “had the effect of a huge bar mitzvah , a rite of passage . Prince Hal has become Henry V ; the Dauphin has become king.”
In the course of the US television broadcast, there was a public controversy over airtime and the protection of minors, in which the conservative Republican politician Tom Coburn criticized NBC because children were exposed to the depictions of nudity, violence and obscenity. TV professionals and Republican Senator Al D'Amato opposed Coburn's position. Equating the nudity of Holocaust victims in the concentration camp with sexual connotations is "outrageous and repugnant," D'Amato said.
use as an educational tool
At a screening of the film in January 1994 in front of 69 predominantly African-American and Hispanic schoolchildren at a movie theater in Oakland , California , a scene in which a Jewish woman is shot caused laughter and applause from some viewers. When some viewers then left the hall in protest, the cinema director interrupted the screening and expelled all the students from the cinema. The event became a topic in the US media, whereupon the students, organized by their school, apologized for their behavior. In the presence of California Gov. Pete Wilson , Spielberg hosted a special screening of the film at the school, speaking with the students about racial hatred and intolerance. More than 30 Holocaust survivors also volunteered to speak at the school. The Museum of Tolerance , operated by the Simon Wiesenthal Center , honored the school with an award. Blacks and Muslims protested against Spielberg's visit and complained that the persecution and murder of people from their communities was not discussed.
Similar reactions among blacks elicited the commitment of New Jersey Gov. Christine Whitman in February 1994 after she screened the film to college students as part of a Spielberg-sponsored initiative to combat racism and increase understanding of the conflict between blacks and to encourage Jews. There are other examples of the film's use to address group hatred in the United States. Spielberg also spoke about this in mid-1994 before a congressional committee examining hate crimes .
Spielberg's stated goal was to create a broader awareness of tolerance in society with regard to slavery , Native American peoples and immigration , as well as racial, religious and gender issues. In a 1995 interview, he explained that education was a primary goal of his film and that the Holocaust is grossly underrepresented in so many textbooks and millions of people know little about it, while others deny that it happened .
Spielberg sponsored a nationwide program of education and instruction about the Holocaust and racial discrimination. His visit to the school in Oakland was also cited as the trigger for the program. As part of the program, he arranged for the film to be seen by approximately 2 million high school students in the US during the spring semester of 1994. To this end, he has worked with Universal Pictures and with cinema operators and governors from over 40 US states. The screenings were free for the students, continued in the following semester and were embedded in class-related discussions about the film. At Spielberg's instigation, the Facing History and Ourselves Foundation created a 650-page textbook containing questions, comments, and explanations related to the historical figure of Oskar Schindler and the film, and went to all middle schools and high schools.
US Secretary of Education Richard Riley also recommended using the film as a teaching tool. According to a 2007 survey of teachers in Wisconsin and Connecticut , more than a third of them regularly showed the film to their students. Also in response to the film, California , Florida and eight other states made Holocaust study a required part of social studies .
Germany and Austria
Over 1,000 articles about the film appeared in German newspapers and magazines. He was also the subject of reports on radio and television. Controversial debate about the film and its impact continued through much of April 1994. According to the assessment of the scientist Thiele (2001), the praise for the film as a whole outweighed it, although there were also many negative and weighing comments.
Federal President Thomas Klestil and Federal Chancellor Franz Vranitzky took part in the Austrian premiere screening on February 16, 1994 . Federal President Richard von Weizsäcker was present at the German premiere in the Alte Oper in Frankfurt am Main on March 1, 1994 . Von Weizsäcker and journalists agreed with the director that his popularity and his name were needed to make the film a success. In Der Spiegel it was said: "Schindler's story is all the more credible because it is told by the creator of ' ET ', ' Indiana Jones ' and ' Jurassic Park ' and not by the Federal Agency for Civic Education ."
Socio-political background
The film came out at a time when, according to statistics, there was an increase in right-wing terrorism , right-wing extremist movements and xenophobia in Germany since German reunification and in Austria . An Emnid study on anti-Semitism found that a fifth of Germans had negative attitudes towards Jews and that around half of Germans believed that the Nazi past should be considered over now that the country had been reunified. In the month of the German theatrical release, the Federal Court of Justice overturned a judgment by the Mannheim district court against the NPD chairman Günter Deckert for incitement to hatred, triggering a scandal in the media before the Federal Constitutional Court contradicted the Federal Court of Justice in mid-April and declared the “ Auschwitz lie ” as not from the judged freedom of expression covered. The film was judged in the German and Austrian media against this socio-political background as well as that of the election campaign in the “ super election year ” of 1994.
On the night of March 24/25, 1994, young people carried out an anti-Semitic arson attack on the Lübeck synagogue , the first of its kind since the end of the Second World War . The attack was cited not only as an example of the situation in Germany at the time the film was released, but also as a possible consequence of its showing.
Perception as a means of enlightenment
To a very significant extent, the film was perceived as a means of enlightenment. The film was credited with showing the Germans that resistance to Nazi rule and the persecution of the Jews was possible or more possible than was generally assumed. For example, FAZ co-editor Frank Schirrmacher said in his editorial that the film forces viewers to ask why others hadn't tried what was possible for someone like Schindler. Dirk Kurbjuweit expressed his conviction in the ZEIT that Schindler had exposed a “ life lie ” of the Germans, since one could have done something after all, “even as a drinker and bon vivant.” Georg Seeßlen pointed out on Friday that Spielberg praised the The guilt of the Nazis - in contrast to "our myths" - "by no means only in a kind of ideological blindness", "but also in a system of shameless, murderous enrichment".
Responding to predominantly negative film criticism in the New York Review of Books , German publicist Marion Gräfin Dönhoff praised the film there. Because he showed her the completely new aspect that the people who followed Hitler during his dictatorship were "not as inhuman as ahuman". They were "not human beings," but the film features "mechanical, violent robots." And the fact that one cannot feel like a hero in a system of communal violence, in contrast to the case of individual acts of violence, is one possible reason why young Germans are so deeply moved when they go to the cinema.
During his first visit to Israel in December 1994, the German Federal President Roman Herzog praised the educational effect of the film on young Germans:
"The film 'Schindler's List' presented the Holocaust to the young generation in my country for the first time not as an abstract catastrophe, but as something that affects people and therefore cannot be indifferent to them, not yesterday, not today and not even tomorrow !“
In addition, the film was viewed to a significant degree as a remedy for collective amnesia . Because he moves people to remember, according to several critics, including Ruprecht Skasa-Weiss , who attested to him in the Stuttgarter Zeitung "a social and hygienic merit". In the SZ , Gabriele von Arnim cited statements by politicians as examples of a “shift to the right” with regard to the elections, and the film could help to expose them as “a threat to all of us”. Simon Wiesenthal judged the film in the Standard as "a means of combating indifference to neo-Nazism ".
The tenor for the cinema re-release in 2019 was similar. The film was highlighted in many media as a means against forgetting and falsification of history, which is more relevant "today" than ever. For the author of the FAZ, the film was "still the apparently only large-caliber cinematic weapon against forgetting, denial, conspiracy theories ". Against the background of increased hatred in society, some German cinemas granted free admission to members of the right-wing party AfD , whose representatives, however, perceived the offer as a provocation.
However, not all critics credited the film with an educational impact of this magnitude. Joachim Bruhn , for example, polemically and disparagingly limited it to the realization that it would have been “in all of our long-term interests” if more Nazi capitalists had seduced themselves by the beautiful Jewish women against their blind interest and their stupid lust for the quick mark leave". Bruhn's contribution appeared in 1994 in the book Schindlerdeutsche , published by the anti-German group Initiative Sozialistisches Forum (Initiative Socialist Forum) , which collects highly polemical contributions directed primarily against the film and its positive reception. The blurb describes the film as a "tough piece of culture industry" that reflects to the audience exactly what "healthy popular sentiment" has always thought about fascism, and that shows what everyone already knew, "as a heart-rending realization, staged […] as an aha experience”.
The editors of the satirical magazine Titanic also saw a hardly beneficial effect of the film . In the June 1994 issue, she published a fake press release from McDonald's in order to detect "kitschising tendencies of the Holocaust", in which a so-called "Happy Jew Menu" (German for "Fröhliche-Jewen-Menu") was offered as a "surprise offer" on the occasion of the film. was announced. At the request of McDonald's, a Munich court prohibited the distribution of the magazine.
Use as a teaching tool
Film was also used in Germany and Austria as part of political education as a means of teaching about the Holocaust. From March 1994, film became the main topic in history classes in many German schools. In many German cinemas there were morning screenings for schoolchildren, some of which were opened by contemporary witnesses such as Simon Wiesenthal and Ignatz Bubis . In Austria, with the exception of Styria , politicians and education officials carried out a nationwide campaign in which they made it possible for schoolchildren from the age of 14 to visit the film in classes at a reduced rate, sometimes free of charge, and which was also financially supported by companies. Around 150,000 young people saw the film.
The German Conference of Ministers of Education also made recommendations for the use of film as a teaching tool . Its chairman Hans Zehetmair ( CSU ) said that the film "convincingly portrays important educational goals such as tolerance and respect for human dignity". The Saxon Minister of Education Friedbert Groß ( CDU ), on the other hand, objected to recommending the film to schools in his country, suspecting it to be "sensational". The FPÖ state party chairman Wolfgang Rauter also expressed his negative opinion , according to which the free screenings gave young people an incorrect view of history, also against the background of the idea that the FPÖ was the successor organization to the NSDAP . Teaching materials for working with film have been published by the Federal Agency for Civic Education , the Catholic Film Works , Vision Kino , the Fritz Bauer Institute and the Jewish Museum Frankfurt .
A study by the Vienna Institute for Conflict Research on the action carried out in Austrian schools showed that the film could be a useful addition to history lessons; that it enables the students to put themselves in the shoes of the victims and to empathize with them; and that it helps clarify stereotypes about how Jews look.
In the month of the German theatrical release, a claim was circulated via a national information line that German school children were being forced to watch the "Hollywood soap opera 'Schindler's List' in order to perpetuate the Auschwitz myth". This led to a court case in Hamburg, which received international attention, in which the judge acquitted the accused because he could not prove that the Holocaust had been denied. Teachers at some German schools – especially those with a high proportion of migrants – also refrained from showing the film because they feared reprisals from parents.
Danger of a relieving effect
Some critics credited the film with an effect that liberated Germans from the task of coming to terms with their country's Nazi past. They believed that Schindler relieved the Germans emotionally and saw a danger in this. For example, Wolf Schön rhetorically asked in Rheinisches Merkur whether Spielberg was inviting “the German conscience” to “relieve itself with the help of its figure of light and rid itself of collective shame”. Lothar Baier sarcastically postulated in the newspaper “ Woche ” that the Germans “are now all a bit of a rescuer of the Jews” because they see themselves in Schindler.
A much-noticed example is the polemical article by the literary critic Sigrid Löffler in the Wochenpost . The film, which she judged to be a failure and which she denied an enlightening effect, works "as a quick spiritual cleansing, as an instant absolution, as an emotional quickie"; the cinema ticket becomes “a convenient ticket for indulgence ” when one suffers, fears, weeps and finally rejoices with the Schindler Jews.
Other critics countered such criticism in their posts. Hans-Ulrich Jörges condemned Löffler's statement about the expression "Ablasszettel" in the newspaper Die Woche as a "cynical aberration", also because of statements such as the warning of a CDU member of the Bundestag to Jewish representatives against "instrumentalising the Holocaust against us in view of anti-Semitism". “. In the Kölner Stadt-Anzeiger , Brigitte Desalm dismissed the view that Schindler was a “witness for the defense” as “supposedly left-wing self-criticism”.
Own efforts to film
Critics asked why no German directors and producers had dared to film Keneally's book. Volker Schlöndorff reacted to this in a letter to the newspaper Die Woche and called such an attempt probably "embarrassing" and also argued that the film might then have been understood as self-liberating.
Some media also reported on the actual but failed efforts to film Schindler's story not only by MGM in Hollywood, but also in Germany. The Berlin film producer Artur Brauner had planned similar things in 1984 and 1992 and applied to the film promotion agency for financial help to produce a film for which Klaus Maria Brandauer was also intended to play the leading role. However, the institution refused funding, also because it attributed insufficient economic benefits to the project. During the second attempt in 1992, the agency also judged the Schindler material to be “speculative” and “like colportage charged with emotions ”.
Artistic Judgment
The film was hailed as a "masterpiece" by critics from many newspapers, including Bild , FAZ , Wochenpost , Tagesspiegel and Neues Deutschland . Positive reviews praised the film for its cinematography, judging it as more European than American.
Many German critics praised the film for being authentic, realistic or documentary. For example, Hellmuth Karasek found in Spiegel that the film bears "the stamp of truth on its forehead at every moment". ZEIT author Andreas Kilb thought he saw "an icy and grandiose truthfulness" in the film, similar to how Verena Lueken spoke in the FAZ of a "document of artistic truthfulness" that conveyed the "impression of authenticity". In doing so, the critics largely followed the guidelines set by Spielberg, Zaillian and Kaminiski, in which they emphasized the film's authenticity, a journalistic perspective and a "documentary ' cinéma vérité ' mood" with regard to the style of the film.
Critics often addressed Spielberg's Jewish identity in interviews and film reviews. It was made clear or suggested that they also understood his film as an autobiographical statement and therefore as authentic. For example, Heiko Rosner wrote in Cinema that Spielberg used the film to propagate his "Jewish identity and with it the unique legacy of his religion, soaked in blood and suffering".
Franz Everschor judged the work in Filmdienst , from which the encyclopedia of international film feeds, as "better than expected and worse than hoped for", since Spielberg "even with a handheld camera and black-and-white film" was unable "to make anything completely different from a Hollywood film ', 'but at the same time, in the gigantomania of scenes and events, the small, apparently insignificant but nevertheless significant details' were not lost. Commendably, he has "renounced his tendency to emotionalize more than one would have previously suspected," and within "his Hollywood-influenced thinking, he persistently tries to stick to the naked truth rather than convert it into a melodramatic legend" -- by apart from a few clichés, including the SS officer playing the piano during the liquidation of the ghetto. Sabine Horst made a similar judgment in epd Film : It makes "part of the honesty of the film" that it refrains from creating "original", spectacular or speculative images". In the same context, some critics also emphasized that the film's staging was not comparable to the TV series Holocaust and its soap opera-like trivialization.
Review by Will Tremper
In the article Indiana Jones in the Kraków Ghetto , which appeared in the Geistige Welt supplement of the newspaper Die Welt before its German theatrical release, journalist Will Tremper judged himself to be the one with more experience in the history of the persecution of the Jews than Spielberg and declined to admit himself "As a German collectively, to feel guilty." Referring to part of the Posen speeches of Reichsfuhrer SS Heinrich Himmler from October 1943, Tremper criticized that the "wild west-style evacuation of the ghetto [...] could not have been as bloodthirsty" as portrayed in the film . He also judged the "sexual intimacies between SS men and naked Jewish women" shown in the film to be unrealistic and suspected that the witnesses and survivors of the time in the Kraków ghetto had dramatized their statements on which the novel and the film are based. Furthermore, on talk shows, Tremper compared Spielberg to Veit Harlan , the director of Nazi propaganda films .
Tremper's world post was met with outrage. Artur Brauner , for example, condemned it in an article in the same newspaper as a scandalous " pamphlet " and said that Tremper had "politically disqualified himself with the "attempted whitewashing of the SS [...]". Elisabeth Bauschmid saw it similarly in the Süddeutsche Zeitung , Tremper's statements were exemplary of "the current mood of collective washing clean through forgetting" . Jan Gympel , on the other hand, defended Tremper in the Tagesspiegel and lamented the view that films about German crimes should not be judged badly by Germans.
In a burning letter to the head of the newspaper, editors of the newspaper Die Welt defended themselves against Tremper's film criticism, but also against other articles published in the Spiritual World section. They judged it to be a move to the political right and thus to deviate from the newspaper's traditional line. The head of the culture department of the world and Rainer Zitelmann , head of the spiritual world department , therefore had to give up their posts, and the newspaper also renounced Tremper's services from then on. Emphasizing the uniqueness of the fire letter in the history of the paper, the world in 2016 remembered Tremper's contribution as a misjudgment.
antisemitism controversy
In the Tagesspiegel of March 10, 1994, Günther Rühle judged the film, its impact and its success: "A lot of people are currently making a lot of money with Schindler. " , an anti-Semitic stereotype , as he wrote in his article Critique of the Stupid Guys in the FAZ in mid-March 1994 . In it he also accused Löffler and Tremper of anti-Semitism. According to Broder, their and Ruhle's criticisms were out of the ordinary among the many positive, deliberative criticisms and were "rather characteristic of public opinion on the relationship between Germans and Jews than of the state of published opinions", with which Broder based his findings a corresponding Emnid opinion poll. According to Broder, Löffler, Tremper and Rühle "didn't want to know anything more about all that Jewish stuff."
A number of critics objected to Broder's allegation of anti-Semitism. Michael Wolffsohn , for example, warned in the FAZ against putting the film's critics "in the right corner". Anyone who describes Tremper and Löffler as anti-Semites does not know the “brutality and racism of real anti-Semites.” Klaus Rainer Röhl agreed with Wolffsohn in an article in the Wochenpost , but was in turn accused of anti-Semitism by Elke Schmitter in the taz . During the period , Andreas Kilb summed up the opinions of Rühle, Löffler, Tremper, Broder and Wolffsohn as “a few petty, grumpy taunts” that didn’t even try “to do their subject justice in any way.” Referring to Broders Several critics, including Detlev Claussen in addition to Wolffsohn, expressed anti-Semitism criticism , dissatisfied with the style of the public controversy surrounding the film. According to Claussen, it was characterized by the pressure to conform and the inability to judge the film under aesthetic criteria.
In an article that appeared in the newspaper Die Woche in mid-April 1994, Broder, reacting to the media response to his contribution, turned against "intellectual linesman" and doubters. These were not concerned with the question of how to represent the mass murder appropriately, but with the fact that Spielberg had broken into the domain of those "who had previously administered the monopoly on 'coming to terms with the past'".
TV broadcasting and age rating
In Germany, the intention to broadcast the film on television with commercial breaks sparked public criticism from Jewish interest groups in 1997. For example, Ignatz Bubis missed "consideration for the sensitivities of Holocaust survivors" in this context. He tried in vain to convince Spielberg to only grant the television rights if the film was shown free of advertising.
In Germany and Austria, but also in Switzerland, the age classification of the film for young people from the age of 12 was sometimes criticized. For example, in 2010 the Frankfurter Allgemeine Sunday newspaper included him in a list of films unsuitable for young people. An FSK representative contradicted the criticism, which was also supported by Federal Minister for Family Affairs Kristina Schröder , and explained with regard to the film that if it were only released from the age of 16, younger people would be denied the opportunity to “intellectually and emotionally” experience the concentration camp atrocities to approach
France
In France, too, the film met with exceptional interest from the press, and was welcomed by many as an event. A dominant topic was the debate about the (non)representability of the Holocaust, which Lanzmann, Hilberg and Segev helped to shape. As noted by observers, the French debate was also particularly dominated by fears of American cultural imperialism . The historian Annie Kriegel cited this fear in Figaro 1994 as the reason for the passionate and at times aggressive tone of the debate. The journalist Samuel Blumenfeld retrospectively explained in Le Monde (2009) the immense box office success of Jurassic Park as the cause of said fear: the success of Spielberg's predecessor film pushed the director "in the middle of an absurd polemic without his knowledge" in the debate about Schindler's list , "in which he was stylized as a Trojan horse , which, as a symbol of a dominant Hollywood cinema, set out to destroy French cinema." Kriegel cited the fear as so deep-seated that France in 1994 negotiated the General Agreement on Tariffs and Trade persuaded to make an exception for cinema films.
Czech Republic
Czech media received the film positively, at least initially. In their reactions, they focused primarily on Schindler's origins as a Sudeten German , the ethnic group whose members were still rejected by many Czechs for supporting Nazi Germany 's occupation of Czechoslovakia . Against this background and the fact that the film shows a “good German” in Schindler, many critics saw the film as a possible bridge between Czechs and Czech-Germans in exile. The newspaper Mladá fronta Dnes said that the film "can help us to learn to deal with criticism in our past in a more differentiated way" and that "the general condemnation of the Sudeten Germans cannot last forever".
The official Czech premiere of the film took place on March 10, 1994 in Prague in the presence of President Václav Havel . The day before, however, there had already been a preview in Zwittau , the birthplace of Oskar Schindler. The film's international success led to the city erecting a memorial honoring Schindler; it was set up opposite the house where he was born and inaugurated on the day of the preview. The German Catholic Ackermann community , which advocates for reconciliation between Germans and Czechs, had also strived for the construction of a memorial for Schindler, which failed in 1991. She has now financed a memorial plaque for Schindler, which was also erected in the wake of the film's success in 1994. The commemorative plaque caused a controversy in the Czech Parliament in August 1994 . The far-right Sdružení pro republiku – Republikánská strana Československa party accused the builders of the plaque of criminal behavior by supporting movements opposed to civil rights. Responding to this, Prime Minister Václav Klaus referred to the judiciary as the competent body to decide on the legality of the memorial plaque.
Poland
In Poland, the film was received with pride and goodwill by many journalists because of the participation of many Poles in its creation, but also because of the shooting locations in Poland. The director Andrzej Wajda also praised the film in this sense and judged the Polish cinematography to be sufficient for international standards. Polish Secretary of State for Culture Waldemar Dąbrowski, to whom Spielberg owes his decision to shoot the film in Poland, found it "deeply moving" and "an excellent performance."
The role of the Poles in front of the camera also concerned the critics. Columnist Agnieszka Wroblewska, for example, wrote in her review in the newspaper Życie Warszawy that "a bit of balance" was missing in the film's portrayal of Poles. Although there were non-Jewish Poles like the girl who shouted “Bye, you Jews!” to the Jews on their way to the Kraków ghetto, there were others too. Schindler's List is not an anti-Polish film, basically Poland doesn't exist in it at all. According to the film's credits , there are 4,000 Jews living in Poland "today" and there are 6,000 descendants of those who were rescued by Schindler. Many critics found these figures to be grossly falsified, since they suggested that Schindler was one German who saved more Jews than all Poles put together.
The daily Gazeta Wyborcza criticized that Spielberg distorted historical truth by not showing the "normality of the death procedure". This met with sharp opposition from the Poland correspondent Helga Hirsch in the German period , because it was the "continuation of the deeply rooted cliché of Poles about the Germans in the Third Reich ", according to which all Germans as "Hitlerists" were "integrated wheels of an oppressive and apparatus of violence” and that there were no exceptions among them.
Israel
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The Israeli reception of the film was described in 1997 as unprecedented in the country's film history, both in terms of the volume of written contributions and the emotional content of their language and arguments. In the period prior to the film's release, visual representations in Israeli culture were not only underemphasized for religious reasons, but footage of the Holocaust had been withheld by Israel for longer than written and oral traditions, and was usually found to be more shocking. Against this background and with a view to the aspect of portraying the Holocaust, the film was understood in the Israeli media as an unparalleled breach of taboo.
Among the film's harshest critics was journalist Tom Segev . In his article Spielberg's Holocaust Park , which appeared in the Haaretz newspaper a few days before the theatrical release, he denied the director his intention, expressed in an interview, to have invested the film budget for his second bar mitzvah . As with ET and Jurassic Park , the budget served him to make a profit. So he demanded of Spielberg: "Spare us this shit!" Many other reviews also expressed a strong dislike of the values typical of Hollywood, American culture and commercialism . Sometimes this criticism was also expressed in connection with a negative attitude towards the Jews in the diaspora , to which Spielberg is also counted. According to the critic of the daily newspaper Al HaMishmar , their values also include power and cultural imperialism.
Israeli critics particularly complained that the film was inaccurate in its historical details. For example, it was about the multitude of accents in the pronunciation, including an inappropriate Israeli accent. As a major historical inconsistency and anachronism , many Israeli critics at preview screenings of the film hailed the 1967 song Jerusalem of Gold , which became popular as the unofficial victory anthem after the Six Day War . Responding to the criticism, Spielberg replaced the song in the Israeli version of the film with To Caesarea , written by Hungarian resistance fighter Hannah Scenes .
But there was also a lot of encouragement for the film. In numerous letters to the media, Holocaust survivors thanked the director for giving realistic expression to their plight, which is otherwise difficult to visualize. The critic Uri Schin also praised the director and affirmed the depictability of the Holocaust in the Davar newspaper : Spielberg found the film to be a "partisan but complex way of dealing with the painful subject" and did not slip into "pornography from horror”. He succeeds "in what the many and good failed".
Islamic world
Indonesia and Egypt justified the bans of the film in their countries with the violent and nudity scenes. The ban in Indonesia was preceded by several weeks of public discussion about the film, in which the Committee for World Muslim Solidarity also condemned it as " Zionist propaganda". Islamic scholars said the film was intended to make the world forget the cruelty of the Jews against the Palestinians . The film was criticized in Malaysia with similar arguments. The country's prime minister, Mahathir bin Mohamad , spoke out against Zionist expansion into Arab territories. Jewish interest groups around the world protested against the ban in Malaysia. The distributor withdrew the film there after it was only allowed to be screened under considerable editing conditions, which Spielberg refused.
Jordanian Information Minister Jawad Anani said it was not the time for the film because of the April 25, 1994, anti-Muslim massacre in Hebron by an Israeli that left 29 dead. In Lebanon, distributors Universal and UIP withdrew the film after a ban on cinema advertising was imposed.
The US State Department expressed regret over the ban and said the film's showing could help prevent future genocides . In interviews, Universal Pictures chairman Tom Pollock promoted the film's showing, pointing to the parallels it would express with the fate of Bosniaks threatened with elimination. In press interviews, Spielberg expressed his conviction that anti-Semitism was the reason for the ban on performances.
Awards and Recognitions
film awards
At the 1994 Oscars , the film, nominated twelve times, received seven awards. It also includes the Oscars for Best Picture and Best Director , Spielberg's first in those categories. There were also Oscars for cinematography, music, editing, production design and adapted screenplay. In the actor categories (leading and supporting actor), Neeson and Fiennes remained nominated, as did the costume design, make-up and sound categories. There was also a Golden Globe Award each for the best film, the screenplay and the director , with a total of six nominations. The screenwriters ', producers ' and directors ' unions also recognized the film. In addition to an Oscar, John Williams received a BMI Film & TV Award and a Grammy Award for his music composition , while the Golden Globe only received one nomination. There have also been numerous awards from the film critics' associations in Chicago , Dallas-Fort Worth , New York , Kansas and Los Angeles , as well as from the National Society of Film Critics . The film also received the Humanitas Award , the Political Film Society Award , and awards from the National Board of Review .
The film also garnered awards outside of the United States, mostly for Best Foreign or Foreign Language Film. In Germany there were two Golden Screens , one with a star, and two Jupiter film awards. At the German Audio Film Prize 2020, the jury received the special prize for the audio description made on the occasion of the 25th anniversary . He also received awards in Japan , including the Japanese Academy Award , the Kinema Jumpō Prize and a prize at the Mainichi Eiga Concours . In the UK, the film received a British Academy Film Award in seven categories, from a total of 13 nominations, as well as awards from the London Critics' Circle Film Awards , the Evening Standard British Film Awards and from the British Society of Cinematographers . In Norway, the film was awarded an Amanda . For film awards from other European countries, the majority remained nominated, including the French César , the Swedish Guldbagge and the Italian awards David di Donatello and Nastro d'Argento .
orders and medals
Steven Spielberg received several Orders of Merit for the film, for the Shoah Foundation and his associated services to preserving the history of the Holocaust . In Germany in 1998 he was awarded the Federal Cross of Merit, Grand Cross of Merit with Star . At the award ceremony on September 10, 1998 in Berlin 's Bellevue Palace , Federal President Herzog said that Spielberg had won deep respect with his work. "Germany owes you a work that has given us more than you might imagine." With the film, Spielberg gave faces to horror and hope; he showed that the responsibility of the individual never ends, even in a dictatorship. In the USA he was awarded the National Humanities Medal in 1999. In 2004 he received the Order of Merit of the Italian Republic in the form of the Grand Cross. President Carlo Azeglio Ciampi paid tribute to Spielberg's "testimony to the cruelty of history".
In selection and leaderboards
In 1995, the film was included in the Vatican 's 45 Films of Special Interest list , and in 2004 the Library of Congress included it in the National Film Registry as a Film of Special Interest . In early 2000, the Broadcast Film Critics Association voted the film the best motion picture of the 1990s. It is included in Time's 2005 selection of the top 100 films from 1923 to 2005 . The BBC 's culture department ranked the film 78th in its 2015 list of the top 100 American films . The film was ranked 8th in the 2016 list of the 80 greatest screenplays by the Directors Guild of America and 49th in the list of the 101 greatest screenplays by the Writers Guild of America (circa 2005). Also in some best lists of the American Film Institute the film is featured, including number eight on the list of the 100 Greatest American Movies of All Time (2007). The film ranks sixth in the Internet Movie Database 's list of the 250 highest rated films .
Interpretation, analysis and scientific reception
transformation and salvation
Along with the story of the rescue of the Schindler Jews, the film tells Oskar Schindler's change of heart from a war profiteer, follower and opportunist to a good German and savior of the Jews. The change of heart takes place in him through encounters with individual fates, including the Jewess who asks him to protect her parents. The key scenes of the transformation are highlighted by the red coloring of the girl's cloak. In it, the child appears as a representative of the suffering and pain of the Jewish people and, as the communication scientist Patrizia Tonin put it, “as a magical, fairy-tale figure who shows Schindler the way to the good.” Shown by the girl in the red coat is also a leitmotif of the film, which is about the suffering of children. Another example of this motif is the boy hiding in a sewer before being captured by the occupying forces.
The dramaturgical suspense of the film reaches its climax where an escalation to the worst is no longer imaginable, namely in the Auschwitz concentration camp. The maximum tension and thus the emotional involvement is essentially generated here by the viewer's knowledge of the gassings, by his knowledge of what is at stake. Spielberg establishes this knowledge in the viewer with the preceding conversation of the Jewish women in the Plaszow concentration camp, in which one of them describes the process leading up to the gassing, but the others reject it as a rumor. The literary scholar Sven Kramer emphasized that it remains unclear why precisely this group of women escapes death, thereby confirming the critics' opinion that Spielberg emotionally engages the viewers without explaining anything. Among other things, Tonin confirmed Claude Lanzmann 's criticism of the impression left by Spielberg that one could have escaped the gas chamber alive.
Mythification, foundation, redemption and creation of meaning
The colorful scene at the end of the film, which is accompanied by the song Jerusalem aus Gold and in which the Schindlerjuden stride side by side across a free country that can be understood as Israel, was interpreted as the transformation and mythification of the story told up to that point in the film into a founding story. According to Kramer, the scene transforms the persecution of the Schindlerjuden “into a prehistory, to a murderous transitional stage” and shows “the taking possession of the […] true homeland where the journey ends and where the survivors […] unfold and multiply."
In this context, Schindler can be interpreted as a “charismatic leader” who rescues the Schindlerjuden people from life-threatening foreign countries and sets them on their way to the Promised Land . In this he resembles Moses , who led the Israelites in the exodus from Egypt – a comparison that Amon Göth also makes in the film in a question to Schindler. Since the Schindler Jews presented Schindler with the ring made from self-melted gold as a token of their gratitude, while the Israelites once danced around the golden calf , according to the film scholar Thomas Elsaesser , an “almost mythical authority” arises, since the chosen ones deceive when they reappear on the horizon the victims of a past in a nation-building future. According to Elsaesser, Spielberg thus appropriated not so much a specific version of the Holocaust as of Jewish salvation , while adding a recognizable American, immigrant, settler, and Founding Fathers rhetoric. Elsaesser considered Lanzmann 's anti-American criticism, expressed in a BBC interview, to be justified in that Spielberg's film was typical of American Jews who wanted to appropriate the Holocaust.
The historian Peter Schulze understood the pilgrimage of the Schindlerjuden and their arrival in Israel as a " salvation-historical interpretation" of the Holocaust. The parallelism with the Old Testament train to the Promised Land would give that arrival a teleological meaning that was negated by the Holocaust. The prologue, in which the disappearance of the family and the dying candle symbolize the imminent extinction of the Jews, together with the end of the film, form a "meaningful narrative framework for the portrayal of the Holocaust." That framework is presented as an authentic event and thus neutralizes it the historical facts; it is, according to Schulze, "the untenable" in Spielberg's portrayal of the Holocaust. Schindler's mythology serves "a conciliatory depiction of the Holocaust, a reappraisal" in which something positive is "wrested" from the Holocaust.
Comparison of Schindler and Göth
Similar to an alter ego or mirror image, the character Amon Göth is juxtaposed in the film Oskar Schindler, whereby the similarity of both is emphasized. The comparison between them is introduced by the scene in which they shave in alternating shots in front of a mirror. Both are gregarious womanizers, drunkards and war profiteers, ride horses and, albeit in different ways, hold the lives of Jews in their hands; both characters are marked by ambivalence , benefit thinking and a penchant for luxury.
Increasingly, however, when the two are compared, their difference is also emphasized. Above all, her separate meeting with Helene Hirsch in the wine cellar of Göth's house serves this purpose. While Schindler sympathetically listens to Hirsch's account of her suffering under Göth and finally gives her a simple kiss on the forehead, Göth's visit to her is a monologue full of rhetorical and self-answered questions. In the scene, Göth tries to convince himself that he is attracted to her because she has a magical allure. However, unable to deal with forbidden feelings of tenderness, he beats Hirsch up as a "Jewish slut". In the scene, Göth relies on the stereotype typical of Nazi propaganda of the Jewish woman as a seductress. Said stereotype, according to scholar Eric Sterling, is used here by Spielberg to subvert it by placing it in the mouth of a sadistic madman.
Depiction of the Jews
In a contribution to the book Spielberg's Holocaust (1997), literary scholar Sara R. Horowitz criticized the film for containing anti-Semitic stereotypes . Similar criticism had previously been expressed by Lanzmann and others. According to Horowitz, the scene showing Jewish men black -marketing in a church fueled the anti-Semitic rumor that Jews were desecrating sacred Christian rites and places. In it, the film also reproduces the anti-Semitic stereotype of the cunning, clever, well-connected Jew as prevalent in the Protocols of the Elders of Zion . Furthermore, the film repeatedly reinforces the anti-Semitic stereotype of the money-grabbing Jew by showing rich Jewish families.
Others objected to such criticism. Author Henry Gonshak, for example, pointed out that Horowitz's criticism overlooks the fact that none of the film's Jewish characters are unsympathetically portrayed. Media scholar Nigel Morris commented on Horowitz' assessment that the Jewish investors Schindler meets "look like they came straight out of a Nazi propaganda poster about eugenics and racial science ." What she overlooks, Morris says, is that these figures reappear in Schindler's factory and include different physical types, often as a crowd. And regarding Horowitz' criticism of the church scene, he said that the behavior of the Jews in it could also be understood as determined resistance or as evidence of admirable accommodation.
Not only Horowitz said that Jewish women were portrayed erotic in the film. Sven Kramer , for example, emphasized that the scene in which the Schindler Jews undressed in the Auschwitz concentration camp was a “ nude scene ” with erotic overtones and that Spielberg used erotically suggestive images to identify with the Jews in it: “In the With selectively placed side light, the body stands out from the dark surroundings, the diffuse backlight surrounds it with a slight halo.” Furthermore, the interpretation was expressed by several that the Jews in the film were portrayed in a feminised way. According to historian Judith E. Doneson, for example, Schindler's list is no exception among Holocaust-related films that portray the Jew as a weak female character in need of protection from strong Christian or non- Jewish males .
Documentary character and authentication
There are a number of features that make the film appear documentary and authentic , depicting reality. One of them is that it was mainly shot in black and white , the colors in which most photographic and film recordings from the time of the Holocaust are also used and which evoke associations in the viewer with that time. Original sound material is also used to increase authenticity , for example Winston Churchill 's radio speech in which he announces Germany's capitulation . Apart from the names of the Schindlerjuden in the epilogue, inserts are also shown at 24 points in the film containing information, for example about the time and place of action or the course of the war. They give the film a journalistic touch and act as a substitute for a narrator or commentator.
The original locations where the film was shot contribute to the documentary effect, but also the use of lesser known actors, which draws the viewer's attention more to the embodied character than to the personality of the actor. Not least because the real Schindlerjuden, accompanied by their actors in the film, lay a stone on the grave of their savior in the epilogue in the present, the viewer gets the impression that what has been seen before corresponds to the truth. The hand-held camera aesthetic also enhances the impression of authenticity. Their use, in combination with the composition of the image, the use of sound, the rhythm of the montage and rapidly changing perspectives, contribute to an effect that is similar to newsreels . The literary scholar Manuel Köppen compared this aesthetic with CNN footage from Vietnam to Croatia , and in so doing also opposed the assessments of critics who had compared the film's black-and-white material with newsreels of the 1940s .
Recipients expressed the opinion that viewers in the shower scene were forced to identify with the Schindler Jews. In view of this, said Martínez, for example, the film acts "like a psychological mold that arouses and shapes the emotions of the viewer in a predetermined way". This is in stark contrast to Spielberg's claim that he takes himself as far as possible and "returns to viewers how they feel with an objective story." According to Martínez, the viewer guidance is aimed at " cathartic participation in the fate of the protagonists, at identifying misery and sympathetic shuddering." Frank Schirrmacher 's view that it is a "deeply unideological film" is just as incorrect as the judgments of many other German films Critics who attested the film's documentary authenticity. These “judgments so blatantly misguided” came about because the critics understood the term authenticity to mean authenticity based on witnessing, basing it on the use of original film locations and Spielberg's Jewish origins.
style and aesthetics
The film was understood as a pastiche and an assimilation of cinematic styles. Aside from World War II newsreels and CNN reports , he quotes film noir , German Expressionism and Italian Neorealism . Despite the variety of styles, the transitions between them are smooth and almost unnoticeable.
Scholars have expressed their belief that the extensive use of black and white is due less to claims of realism or truth and more to cinematic traditions associated with black and white. The use of black and white varies depending on which cinematic style is cited. According to the scientist Yosefa Loshitzky, the scene at the beginning of the film, which takes place in a cabaret -like environment, has a chiaroscuro -like interplay of light and shadow due to the dramatically contrasting black and white - allusions to those of Hollywood studio films such as those were influenced by Joseph von Sternberg , Orson Welles and Max Ophuls . In particular, scenes showing everyday life in the Kraków ghetto or in Schindler's factory resembled the style of Italian Neorealism, a movement associated with black-and-white depictions of life in Italy during and after World War II.
A key stylistic device of the film is the asynchronicity between image and sound. The last images of a scene or sequence are already underlaid with the soundtrack of the following. This creates smooth transitions without a drop in tension, accelerates the narrative pace and condenses the plot. The stylistic device is sometimes also used together with parallel montage.
The film has been credited with aestheticizing violence . The author Ora Gelley, for example, understood the film based on the scene in which Göth shoots two prisoners of the Plaszow concentration camp with a rifle from his balcony. It alternates point-of-view shots of the scantily clad Göth, showing him shooting, and shots of his half-naked playmate in bed. Because of the large distance between the positions of the camera and the victims, the sexualized bodies of Göth and his girlfriend are accentuated. As with Göth's mistreatment of Hirsch, the scene creates a problematic sort of fascination with the Nazi aesthetic of violence and sexuality, thereby muting the victims' voices. However, the film overcomes this aestheticization of violence in the scene in which Göth shoots his servant Lisiek. Because in it the murder is described through Stern's eyewitness-like perspective, the viewer remains outside of Göth's role and shot- reverse shot and point-of-view shots are avoided here.
Visual recreations and image quotes
To emphasize the documentary character of scenes, the film works with visual replicas or image quotations from historical photographs. One of the photos reproduced in the film shows the street in the ghetto with lots of suitcases and clothing and symbolizes the absence of the deported residents, other scenes quote Margaret Bourke-White's photos of prisoners behind the barbed wire fence of liberated concentration camps.
Not only historical photographs, but also footage from earlier films that deal with the Holocaust are reproduced and quoted in Schindler's list . With regard to the depiction of the concentration camps, for example with muddy ground over which the prisoners walk, the film - like many other films made before Schindler's list - refers to the Polish feature film The Last Stage (1948). Spielberg's film alludes to the documentary Night and Fog (1956) by recreating the almost identical montage sequence, showing stacks of suitcases and piles of shoes and glasses.
The citations and recreations of images from earlier films are visual stereotypes which, according to film scholar Tobias Ebbrecht, serve as substitutes for primary memories of the historical event that are lacking in the audience. In this way, the film is constructed "as a new monument of memory that incorporates previous cinematic forms of memory and integrates their effects into its own aesthetic impact strategy." with regard to memory, because he does not want to reproduce reality, but "the reality represented by the cinematic memory" true to the original. Since, according to the author Sonja M. Schultz , the picture and film quotations are a "compilation of what is known", the recognition effect and the authentic effect of the fiction would be strengthened.
The visual replicas have the character of pictorial icons . One of them is the gesture of a slit throat, with which a Polish boy announces his impending fate to the Jews in the passing deportation train. Schindler's List thus adapts the gesture of a Polish man interviewed in Lanzmann's documentary film Shoah , who moves his hand along his neck, thus clarifying his memory of the murder of the Jews. The throat-cutting gesture is shown three times in Spielberg's film: it can be seen twice from different angles before one of the two shots is shown again and – emphasizing the iconic character of the motif – is now shown in slow motion .
Comparison with novel template and historical events
As with many film adaptations of literary material, the film adaptation of Keneally's semi-documentary novel is marked by omissions, simplifications and compressions. This includes, in particular, that in the film, unlike in the novel, numerous activities are bundled in the character Stern, including raising money for Schindler's factory and issuing blue certificates to the Jewish workers, which is vital for life; In addition, the film character Stern unites the historical figures Mietek Pemper and – as managing director of Schindler's enamel goods factory – Abraham Bankier . Last but not least, Stern was not involved to the extent shown in the film in writing the list of names that saves the lives of the Schindler Jews; in fact it was written by Raimund Titsch , an aide of Julius Madritsch , and later recreated in the Gross-Rosen concentration camp . (See also: Itzhak Stern )
Among the historical circumstances the film omits is that Jewish camp inmates also bribed to substitute their own names for the names of others on the life-saving list. Furthermore, the film not only omits Keneally's account that Schindler equipped the Jews of Brünnlitz with automatic weapons for defense against the SS, but also that, as Keneally recorded, in addition to his slave labor towards the end of the war, he also rescued several thousand other Jews from Auschwitz had co-arranged.
The film gives the viewer the idea that Göth's arrival in Kraków in early 1943 started the murders there by the SS. This is in contrast to the novel, according to which there was already an SS attack on the ghetto residents in mid-1942, i.e. before the liquidation of the Kraków ghetto. Unlike what is portrayed in the film, according to the novel it was this attack that Schindler watched from the hill with his girlfriend and in which he noticed the girl dressed in red.
In order to get the Jewish forced laborers and his company to move to Moravia , Schindler has to overcome the hurdles set by the National Socialist authorities in Berlin, Kraków and Moravia. The film, on the other hand, gives the impression that Schindler Göth is buying the workers to relocate the company. And unlike what is shown in the film, it was not Oskar Schindler who traveled to Auschwitz with diamonds to ransom the Jewish women, but a woman close to him.
While the novel also offers different versions of the actual events and does without pathos , the film knows, as the literary scholar Eckart Oehlenschläger pointed out, "no hypothetical perspectives [...], but only the effect of the greatest impact"; the director transforms the event into a "hero legend". The film's heroization of Schindler is also shown by the fact that his promiscuity disappears parallel to his moral development and he is portrayed as monogamous after the opening of his factory in Brünnlitz , although the real Schindler at the time told continued to have at least one extramarital relationship.
film music
The film music is used according to a certain pattern, as described by the musicologist Berner. As a result, diegetic pop music – that is, music played by visible instruments – is used to depict hedonism and greed of followers and bystanders. For example, Oskar Schindler is introduced with international pop music from the 1930s, including the tango Por una cabeza , and is thereby also characterized as a dandy . Non-diegetic music, that is, background music, is used to represent compassion, courage, and generosity, and includes the main theme . On the other hand, noise or silence are used to denote violence, which emanates in particular from Nazis. Noise includes the sound of truck or car engines, whistling steam locomotives, machine gun salvos and single shots.
The main theme of the soundtrack underscores Schindler's transformation from a Nazi collaborator and profiteer to a heroic, altruistic savior. Thus, at the beginning, when Schindler made his first decision to save an elderly couple from being deported, the music is used cautiously and only played by a guitar. Later, as Schindler, with Stern's help, begins to write the list of salvation, the music sounds clearer, now played by violinist Itzhak Perlman and accompanied by an orchestra. In the second half of the film, the main theme serves to herald and support the happy ending .
The soundtrack expresses a strong Jewish identity and Ashkenazi tradition through different styles of Jewish music and thus also the director's strategy aimed at documentary effect. In addition to the religious music of the sung Shabbat prayer at the beginning of the film, the musical styles also include the pieces that sounded during the liquidation of the Kraków ghetto. These consist of Klezmer music, here primarily in the form of Giora Feidman 's clarinet solo , and the Yiddish folk song Oyfn pripetschik sung by a children's choir . Composed by Mark Warschawskyj in the 19th century , it was very popular in Jewish society before World War II, before becoming known as the 'Ghetto Song' because of certain textual variants that connect the suffering of the Jewish people with the events of the early 1940s would.
picture ban
The discussion as to whether the Holocaust could be represented by means of art and thus also the feature film had been going on long before the appearance of Schindler's List , including around the television series Holocaust . The ban on images , also known as the ban on depiction or representation, is characteristic of the debate , according to which the atrocities of the Shoah cannot be reproduced in pictures. It goes back to the second of the Ten Commandments in the Old Testament , which forbids idols , and whose strict interpretation in the Jewish tradition led to an underemphasis on visual representation, leaving the word as an essential means of artistic expression. The ban on images is also based on Theodor W. Adorno’s 1951 statement “ To write a poem after Auschwitz is barbaric ”, which some recipients understood as a ban on any artistic attempt to depict the experiences from the camps. The ban on images is opposed to the commemoration requirement, i.e. a contribution to a culture of remembrance that is appropriate to the event.
With his position, expressed in Le Monde , that fiction is a “transgression” of the circle of flames surrounding the Holocaust and that “every representation is forbidden”, Claude Lanzmann not only reaffirmed the ban on images, but he also extended it to include a ban on fictionalization. The literary scholar Manuel Köppen questioned his core argument, according to which Spielberg used images where there were none in the Shoah . According to Köppen, Shoah also uses images, including landscapes, railroad tracks and trains, which are "staged areas of memory" and which do not merely document evidence. In view of this, Schindler's list also includes Shoah . Lanzmann's idea, according to which the Shoah is the only appropriate form of cinematic approach and mass media products such as Schindler's List trivialize their subject matter, is one of the "ethical-aesthetic polarizations" that are fatal in their consequence.
In the context of the debate about the representability of the Holocaust, the Irish philosopher Richard Kearney argued for empathy as an essential factor of narrative power, turning against both Lanzmann and the philosopher Jean-François Lyotard , who took a similar stance . According to the American religious scholar Robert A. Erlewine Kearney, it is insufficient to use the Shoah to evoke the horror of the events in a purely indirect way, as Lanzmann did, because more people would be reached - also more profoundly - if they felt the suffering and horror that way and experienced as if they were present at the events themselves. Spielberg is just as ethically motivated as Lanzmann and Lyotard.
In her widely acclaimed essay, the lecturer Miriam Bratu Hansen concluded that rejecting the film simply because it was undrepresentable from the outset would be a wasted opportunity to understand the significance of the Shoah in the present and the ongoing, undecided debates about the past. In Lanzmann's criticism, she particularly missed the dimension of the acoustic and the role of sound in the production of visuality . A plethora of audio asynchronizations, such as a character speaking that transitions into a documentary-style voiceover , produced an effect that, like other films with perfect sound-image coordination, conveys "an immediate and totalitarian understanding of reality."
Lanzmann's stance against any depiction of mass extermination remained a minority opinion. The film has been credited with ending the ban on images or representing an exemption from it. Sonja M. Schultz blamed the "highly professional dramatization" and the violent staging of the film. Frank Bösch explained the thematization of the gassing, without depicting it, as setting new boundaries, but also as marking the end of the ban on images.
Universalization and Americanization of the Holocaust
The film has been credited with raising the questions of how an individual can still act morally in a world that seems to have given up all moral impetus and, referring to the Talmud quoted in the film, how humanity can achieve a more humane future could. These questions or messages were understood as a de-historicization and universalization of the Holocaust, central features of transnational culture of remembrance at the end of the 20th century . In this respect, according to the historian Christoph Classen, the Holocaust and Auschwitz have become “codes of ' evil '” – a development in which Schindler's list represents a milestone.
Said universalization is also understood as a synonym or part of the Americanization of the Holocaust , a process much discussed among scholars, in which film occupies an essential position alongside the Holocaust television series and the Washington Holocaust Museum . In addition to its universalization, the Americanization of the Holocaust is explained with its medialization , commercialization, and popularization, but it is also criticized as instrumentalization, banalization, trivialization, Disneyfication , and McDonaldization .
The American lecturer Michael André Bernstein saw in the universalization of the Holocaust a feature of what he called the "Schindler's List Effect", an effect emanating from the film on the way in which the Holocaust was remembered. It is evident in Spielberg's repeated statement that the film is just as relevant to Bosniaks or African Americans as it is to Jews. The eagerness to interpret the Holocaust as a parable of universal suffering reflects a typically American urge to find redeeming meaning in every event. Such repercussions demanded, according to Bernstein, "a sharp-eyed and shameless resistance."
Judgment on contemporary reception in Germany
An important subject of scientific publications was also the reception of the film in the context of its first release in Germany. Scientists, for example, judged them to be shaped by appropriation. The British lecturer William J. Niven, for example, spoke in this context of the film being instrumentalized by critics and politicians who, among other things, would have liked the film to immunize against neo-Nazis or provide evidence of bourgeois resistance and philo -Semitism.
German journalistic media had classified Schindler's list as a film that had the Holocaust as its central theme or was a film about the Holocaust. However, scientists rejected this and pointed out that it was rather an exceptional story about the rescue operation of an individual against the background of the Shoah. In that criticized claim, as well as the elevation of the film to an "event of contemporary history" by some newspapers - as Andreas Kilb put it - the political scientist Peter Reichel believed a dubious "reinterpretation of the exceptional story into a cinematic-representative overall panorama with a guilt-free outlook". recognizable: "You saw what you wanted to see and obviously urgently needed in terms of commemorative politics." The time with its ambiguously understandable judgment at the beginning of the public debate is also responsible for the questionable "collecting of the film into a national event", according to Spielberg " redeemed the Germans from the Holocaust " with his film.
Against the background that the film had quickly become "the definitive starting point and framework" worldwide, especially for the educational discussion of the Holocaust, the educational scientist Ingrid Lohmann missed a sufficiently critical view of the film in the German press reports. Politicians and publicists also presented the film to young people in a “naïve reading”. Omissions and simplifications in the course of the mediatization of the film, including the adaptation of the novel as a screenplay, were overlooked or not brought up for discussion. According to Lohmann, the hesitation to view the film critically expresses “a completely misunderstood pedagogical – […] folk educational – attitude”.
Historians compared the film's reception in Germany to that of the television series Holocaust . Matthias Weiß, for example, expressed the opinion that in the discourse on Schindler's list , compared to that on the Holocaust , there was hardly any talk of "'affectedness' in the sense of a collectively binding approach", but instead "the place of public and content-related emotionality [ …] the serenity of a discourse entered” that was shaped by questions of representation and the authenticity of the memory. "Collective memory," Matthias Weiß continued, "apparently had lost its national spontaneity and had become part of a self- reflective media discourse that at the same time enabled and reflected the persistence of collective memory of German crimes." pointed to the continued existence of a continuity with the mental context of the Nazi crimes, Spielberg's film encountered a society in which there was a high degree of willingness to deal with the Nazi past.
The literary historian Christoph Weiß compared the reactions to the film with those to Peter Weiss 's 1965 play The Investigation , which dealt with the first of the Frankfurt Auschwitz trials , emphasizing Hellmuth Karasek's judgements. While Karasek, as a theater critic for the Stuttgarter Zeitung , in 1965 denied in principle the question of whether Auschwitz could be represented using documentary or fictional means, in 1994 he, meanwhile chief culture editor of Spiegel , praised Spielberg's film and praised it, among other things, as "the truth of art". According to Christoph Weiß, this significant change in perception suggests that the " incommensurable [...] in the process of ' historicization ' has become commensurable and consumable".
Overall rating, value and other influences
With regard to the mass impact of the film - not only in Germany - some recipients said that Schindler's list can only be compared with the television series Holocaust . In 2001, Matthias Weiß described the works as the “two most effective depictions of Nazi crimes”, and in 2019 Silvia Bahl wrote of “two milestones in dealing with the Nazi crimes, whose epochal importance for public discourse is seen more clearly today than ever.” Writer Sonja M. Schultz said that the film had a more lasting influence on its audience's views of history than almost any other cinematic fiction. The historian Henning Tümmers (2021) assessed it as "creating identity" for the citizens of Germany and as "paradigmatic [...] for the postulate of learning lessons from the past."
In the eyes of the recipients, the film made a decisive contribution to the Holocaust becoming a part of the culture industry and mainstream cinema . Some saw him as the origin of the Holocaust film genre. Frank Bösch highlighted the film as a manifestation of the trend towards authenticity that has been observed in films about the Holocaust since the late 1980s , which has shifted the relationship between feature film and historical scholarship.
In addition to the influences already mentioned, including its use as a teaching tool, the film had numerous other after-effects. In the course of its first publication, a wealth of publications about Oskar Schindler appeared. And as a result, studies appeared on the topics of occupation policy, extermination camps and corruption under National Socialism, which German historians had previously neglected.
Schindler's list represents a breaking point in Steven Spielberg's cinematic oeuvre. Not only did he profess Judaism through film. Rather, the cinematic-magical exaggeration that characterized previous films in relation to the protagonist's change of mind and attitude deviates here from a consistent orientation towards the value of individual life, which becomes clear in Schindler's change of heart through the encounter with individual fates.
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The film and its director not only made Kraków a place for film tourism , but also made the district of Kazimierz world-famous and a Holocaust memorial. Day trips to both Auschwitz and Oskar Schindler's former factory are offered in Kazimierz. Its building in the Podgórze district has housed the Fabryka Emalia Oskara Schindlera Museum since 2010 , which commemorates the fate of Kraków's Jews during the Second World War and also makes reference to the film.
Also inspired by the film, the Swiss Christoph Meili published documents to be destroyed in 1997, which according to his belief at the time proved banking connections with Jewish Holocaust victims, and thus became a whistleblower .
Particularly because of the epilogue, which features descendants of Schindlerjuden and makes the story told in the film seem truthful, the film has been credited with influencing the trend towards the use of re- enactment that has been increasing in history documentaries on television since the mid-1990s watch is
The Israeli video artist Omer Fast created the video installation Spielberg's List in 2003 , for which he interviewed residents who had once worked as extras in the film of the Polish film locations of Schindler's List , artistically exploring the influence of the Hollywood feature film on the region and its people residents interpreted. Florian Battermann adapted Schindler's story for the theater stage in 2018 under the title Oskar Schindler's List .
literature
monographs
- Helga Amesberger , Brigitte Halbmayr : "Schindler's List" sets a precedent. Feature films as an instrument of political education in Austrian schools - A case study ( conflict research study series , No. 9), Braumüller , Vienna 1995, ISBN 3-7003-1107-9
- Catrin Corell: The Holocaust as a challenge for film. Forms of dealing with the Shoah in film since 1945. A typology of effects (PDF; 10.3 MB; series of publications by the Fritz Bauer Institute , Volume 20), Transcript Verlag , Bielefeld 2009, ISBN 978-3-89942-719-6 (dissertation, University Mannheim 2006), p. 233 ff.
- David M. Crowe, Oskar Schindler: The Untold Account of His Life, Wartime Activities, and the True Story Behind the List , Westview Press, Cambridge 2007, ISBN 978-0-465-00253-5
- Tobias Ebbrecht: Images of history in media memory. Cinematic Narrations of the Holocaust. transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 (dissertation, FU Berlin 2010), p. 183 ff.
- Henry Gonshak: Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187ff.
- Sven Kramer : Auschwitz in conflict. On the Representation of the Shoah in Film, Philosophy and Literature . Springer Fachmedien , Wiesbaden 1999, ISBN 978-3-8244-4366-6
- Helmut Korte: Introduction to Systematic Film Analysis , 4th edition, Erich Schmidt Verlag , Berlin 2010, ISBN 978-3-503-12241-7 , pp. 167–215
- Joseph McBride: Steven Spielberg. A Biography. Second Edition, University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0
- Nigel Morris: the cinema of Steven Spielberg. empire of light. Columbia University Press , New York, Chichester 2007, ISBN 978-0-231-50345-7 , pp. 214 ff.
- Johannes-Michael Noack: "Schindler's List" - authenticity and fiction in Spielberg's film ( Media Studies , No. 4), Leipzig University Press, Leipzig 1998, ISBN 978-3-933240-05-7 (dissertation, University of Leipzig ; limited preview in google book search)
- Franciszek Palowski: Spielberg: W Poszukiwaniu Arki . Parol, Kraków 1993, ISBN 83-85331-48-4 (Polish)
- English translation by Anna and Robert G. Ware: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4
- Andy Pearce: Holocaust Consciousness in Contemporary Britain ( Routledge Studies in Cultural History , No. 27), Routledge , New York 2014, ISBN 978-0-203-48421-0
- Peter Reichel : Invented memory. World War and the murder of the Jews in film and theater , Hanser Verlag , Munich 2004, ISBN 3-446-20481-4 , p. 301 ff.
- Werner Schneider: Oskar Schindler – Steven Spielberg. Whoever saves one life saves the whole world , Bernstein-Verlag , Bonn, Siegburg 2016, ISBN 978-3-945426-24-1
- Sonja M. Schultz : National Socialism in Film. From Triumph des Willens to Inglourious Basterds ( Deep focus , No. 13), Bertz + Fischer Verlag , Berlin 2012, ISBN 978-3-86505-314-5
- Martina Thiele: Journalistic controversies about the Holocaust in film (PDF; 8.9 MB), LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 (dissertation, Georg-August-Universität Göttingen )
anthologies
- Klaus L. Berghahn , Helmut J. Schneider, Jürgen Fohrmann (eds.): Cultural Representations of the Holocaust in Germany and the United States ( German life and civilization , No. 38), Peter Lang Verlag , New York 2002, ISBN 0-8204 -5208-4
- Thomas Fensch (ed.): Oskar Schindler and His List: The Man, the Book, the Film, the Holocaust and Its Survivors , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397-6472-3 (reprints from English language reviews and other journalistic contributions)
- Günter Giesenfeld , Thomas Koebner (eds.): Instant view. Marburg and Mainz booklets on media studies No. 36 from 2004: On the new cinematography of the Holocaust (PDF; 2.4 MB)
- Initiative Socialist Forum (ed.): Schindler German: A cinema dream of the Third Reich. Ça ira Verlag , Freiburg 1994, ISBN 3-924627-40-1 (anthology with reviews, some of which have previously appeared in other publications, and a transcript of a discussion)
- Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X
- Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8
- Nigel Morris (ed.): A Companion to Steven Spielberg ( Wiley Blackwell Companions to Film Directors , No. 16), John Wiley & Sons , Chichester 2017, ISBN 978-1-118-72681-5
- Christoph Weiß (ed.): "The good German". Documents on the discussion of Steven Spielberg's "Schindler's List" in Germany. Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X (reprint of 65 German language film reviews)
Articles in journals, anthologies and online
- Frank Bösch : Film, Nazi past and history. From "Holocaust" to "The Downfall" (PDF; 891 kB), in: Quarterly Journal for Contemporary History No. 1/2007, pp. 1-32
- Christoph Classen: Balanced Truth: Steven Spielberg's Schindler's List among History, Memory, and Popular Culture , in: History and Theory No. 2 of 2009 (48th year), theme issue 47, pp. 77–102
- Scott D. Denham: Schindler Returns to Open Arms: “Schindler's List” in Germany and Austria , in: German Politics & Society No. 1/1995 (13th year), pp. 135–146
- Ora Gelley: Narration and the Embodiment of Power in “Schindler's List” , in: Film Criticism No. 2 from 1997/98 (22nd year), pp. 2–26
- Manuel Köppen: From Effects of the Authentic - Schindler's List: Film and Holocaust , in: Manuel Köppen, Klaus R. Scherpe (ed.): Images of the Holocaust. Literature - Film - Visual Arts ( Literature - Culture - Gender , Small Series, Volume 10), Böhlau Verlag , Cologne and Vienna 1997, ISBN 3-412-05197-7 , pp. 145-170
- Jochen Kürten: Return to the cinema: "Schindler's List" , in: Deutsche Welle of January 26, 2019
- Ingrid Lohmann : Schindler's List Revisited or "Teaching the Holocaust"? , in: Helmut Schreier, Matthias Heyl (ed.): "That Auschwitz is not again ...". On education after Auschwitz , Verlag Dr. R. Kramer, Hamburg 1995, ISBN 3-89622-001-2 , pp. 205-219
- Frank Manchel: A Reel Witness: Steven Spielberg's Representation of the Holocaust in Schindler's List , in: The Journal of Modern History No. 1/1995 (67th year), pp. 83–100
- William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189
- Eric Sterling: All Rules Barred: A Defense of Spielberg's Schindler's List , in: Film & History: An Interdisciplinary Journal of Film and Television Studies No. 2/2002 (32nd year), pp. 62–71
- Natan Sznaider : The Americanization of the Holocaust , in: Rainer Winter, Natan Sznaider, Ulrich Beck (eds.): Global America? The Cultural Consequences of Globalization ( Cultural Studies , No. 4), transcript Verlag , Bielefeld 2003, ISBN 3-89942-172-8 , pp. 219–238
- Patrizia Tonin: Shoah after Spielberg. Holocaust and Hollywood, or Schindler's List , in: Edith Dörfler et al. (Ed.): Media & Time - Communication in the Past and Present No. 3/1997: Film and Holocaust (PDF; 5.1 MB), pp. 40-51
- Matthias Weiß: Sensual memory. The films ›Holocaust‹ and ›Schindler's List‹ in the West German visualization of the Nazi era. In: Norbert Frei , Sybille Steinbacher (ed.): Be silent and confess. Post-war German society and the Holocaust ( Dachau Symposia on Contemporary History, Vol. 1). Wallstein Verlag , Göttingen 2001, ISBN 3-89244-493-5 , pp. 71–102
- Michael Wildt : The Invented and the Real. Historiographical Notes on a Feature Film , in: Historische Anthropologie No. 2/1995 (3rd year), pp. 324–334
teaching materials
- Jewish Museum Frankfurt (ed.): A savior story. Working suggestions for the film "Schindler's List" . Educational booklet accompanying the Oskar and Emilie Schindler Learning Center in the Museum Judengasse Frankfurt am Main, 2005, ISBN 3-9809814-1-X
- Gottfried Kößler: Decisions, suggestions and materials for educational work with the film "Schindler's List" . Fritz Bauer Institute , Frankfurt am Main 1995
- Werner Schneider: Steven Spielberg: Schindler's List: A film analytical project , Cornelsen Verlag , Berlin 2000, ISBN 3-464-02468-7
- Vision Kino , Pedagogical Center Frankfurt, Universal Pictures Germany (ed.): Teaching material on the film (PDF; 1.2 MB), approx. 2019
- A Guide to the film Schindler's List (PDF; 1 MB). Facing History and Ourselves National Foundation Inc., Brookline 1994, ISBN 0-9615841-5-7
- Schindler's List as an Educational Tool , Yad Vashem website
web links
- Schindler's List at theMovie Database
- Schindler's List in the online film database
- Schindler's List in the Lexicon of International Film
- Schindler's List at Schnittbericht.com
- Schindler 's List at Rotten Tomatoes
- Schindler's Listat Metacritic
- Screenplay by Steven Zaillian (March 1990 version), at Screenplays-online.de
itemizations
- ↑ a b c d e f g h Schindler's List. In: Lexicon of international film . Filmdienst , retrieved May 22, 2020 .
- ↑ David M. Crowe, Oskar Schindler: The Untold Account of His Life, Wartime Activities, and the True Story Behind the List , Westview Press, Cambridge 2007, ISBN 978-0-465-00253-5 (Kindle ed.), Item 10906 et seq.
- ↑ a b Claudia Keller, Stefan Braun: "It must be a film that is also successful" , in: Stuttgarter Zeitung of October 23, 1999, p. 5, retrieved online via GBI-Genios on April 7, 2021
- ↑ David M. Crowe, Oskar Schindler: The Untold Account of His Life, Wartime Activities, and the True Story Behind the List , Westview Press, Cambridge 2007, ISBN 978-0-465-00253-5 (Kindle ed.), Item 11565 et seq.
- ↑ a b Marco Giannangeli: The long list of problems that nearly sunk Schindler's List , in: Daily Express and Sunday Express website of April 7, 2013, accessed May 30, 2020
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 191
- ^ a b Franciszek Palowski: Witness . The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 170 f.
- ↑ a b From the great murders , in: Der Spiegel of 21 Feb. 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 45–57, here p. 53
- ↑ Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , p. 426, quote S. Spielberg: "Ten years from now"
- ↑ David M. Crowe, Oskar Schindler: The Untold Account of His Life, Wartime Activities, and the True Story Behind the List , Westview Press, Cambridge 2007, ISBN 978-0-465-00253-5 (Kindle ed.), Item 4494 et seq.
- ^ a b Franciszek Palowski: Witness . The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 46 f.
- ↑ a b c d e Anne Thompson: Schindler's List: How Steven Spielberg brought it to life , in: Entertainment Weekly of January 21, 1994, accessed May 29, 2020
- ↑ a b Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , p. 427
- ↑ a b Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 420.
- ↑ Werner Schneider: Oskar Schindler – Steven Spielberg. Anyone who saves a single life saves the whole world , Bernstein-Verlag , Bonn, Siegburg 2016, ISBN 978-3-945426-24-1 , p. 43 f., quote from Der Spiegel from p. 44
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 193
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 27
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 105
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 195
- ↑ Filmproducer Branko Lustig died , in: General-anzeiger Bonn of November 14, 2019, retrieved on April 28, 2020
- ↑ Schindler's List (1993) , in: Box Office Mojo , accessed April 29, 2020
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 72.
- ↑ a b David Gritten, The 'Schindler' Everyone Forgot About--Until Now : A decade ago, Jon Blair's documentary won a British Academy Award , Los Angeles Times , Feb. 27, 1994, accessed March 12, 2021
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 59–62.
- ↑ a b Jeffrey Shandler: Schindler's Discourse: America Discusses the Holocaust and its Mediation, from NBC's Miniseries to Spielberg's Film , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 153–170, here: pp. 155 f.
- ↑ a b Johannes-Michael Noack: "Schindler's List" - Authenticity and Fiction in Spielberg's Film , Leipzig University Press, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 84.
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 72.
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipziger Universitätsverlag, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 80.
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 121.
- ↑ Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , pp. 429 f.
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 86
- ↑ Wolfgang Wissler: Götz George and the shadow of the past , in: Südkurier of June 27, 2016, retrieved on October 21, 2020
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 85
- ↑ Schindler's List. In: synchronkartei.de. Deutsche Synchronkartei , retrieved April 4, 2020 .
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 126 f.
- ↑ Schindler's List. In: synchronkartei.de. Deutsche Synchronkartei , retrieved April 4, 2020 .
- ↑ German translation of the role name "Red Genia" mentioned in the credits for Oliwia Dabrowska.
- ↑ a b Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 35
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 156 ff.
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 45
- ↑ Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , pp. 414 ff.
- ^ a b c Franciszek Palowski: Witness . The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , foreword by Thomas Keneally, p. xii
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 26
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 21 ff.
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 67
- ↑ a b Johannes-Michael Noack: "Schindler's List" - Authenticity and Fiction in Spielberg's Film , Leipzig University Press, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 82
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 45
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 111
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , p. 65
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , pp. 61-63
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , pp. 150 ff.
- ↑ Franciszek Palowski: Witness. The Making of Schindler's List . Orion, London 1999, ISBN 0-7528-1791-4 , p. 160
- ↑ John Williams - Schindler's List , in: Classic FM web site , accessed 30 May 2020
- ↑ Wook Kim, A 'New' Schindler's List: A Q&A with Film-Restoration Expert Michael Daruty , in Time , March 5, 2013, accessed May 14, 2020
- ^ a b Thomas Schatz: Spielberg as Director, Producer, and Movie Mogul , in: Nigel Morris (ed.): A Companion to Steven Spielberg , John Wiley & Sons , Chichester 2017, ISBN 978-1-118-72681-5 , pp. 27–44, here: p. 36
- ^ a b Schindler's List (1993) , in The Numbers , accessed April 17, 2020
- ↑ a b Schindler's List (1993) Release Info , in: imdb , accessed April 17, 2020
- ↑ a b c Schindler's List – Original Release , in: Box Office Mojo , accessed April 16, 2020
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 172 f.
- ↑ a b c "It is our story" , in: Der Spiegel No. 12/1994, pp. 97-100, retrieved online on Aug. 2, 2021
- ↑ Yosefa Loshitzky: Introduction , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 1–17, here: p. 14, endnote 7
- ↑ a b Anton de Baets: Censorship of Historical Thought: A World Guide, 1945–2000 , Greenwood Press, Westport 2002, ISBN 0-313-31193-5 , p. 286
- ↑ a b c d e f 'Schindler's List' Faces Censor and Censure by Islamic Countries , in: Jewish Telegraphic Agency of April 11, 1994, accessed May 8, 2020
- ↑ a b c Sharon Waxman: 'SCHINDLER'S' TV HISTORY , in The Washington Post 23 Feb. 1997, accessed 24 April 2020
- ↑ a b TOP 100 GERMANY 1994 , in: InsideKino , retrieved on April 17, 2020
- ↑ a b Marion Gräfin Dönhoff : 'Dissent on Schindler's List' , in: The New York Review of Books of June 9, 1994, retrieved on October 17, 2020, original quotes in the same order: "not so much 'inhuman' as' ahuman.'", "not human beings", "strange creatures or mechanical robots of violence"
- ^ SCHINDLER 'S LIST (1993) , BBFC website , accessed July 9, 2020
- ↑ Caroline Besse: “La Liste de Schindler” a 25 ans : le film controversé de Spielberg ressort en salles et débarque sur Netflix , in: Télérama of March 13, 2019, retrieved on July 9, 2020
- ↑ LA LISTE DE SCHINDLER , Website of the Center national du cinéma et de l'image animée , accessed 9 July 2020
- ↑ Schindler's List , ProCinema website , accessed July 9, 2020
- ↑ Olga Gershenson: The Phantom Holocaust. Soviet Cinema and Jewish Catastrophe (Jewish Cultures of the World) , Rutgers University Press, New Brunswick 2013, ISBN 978-0-8135-6180-6 , p. 217
- ↑ a b 'Schindler' Sets A TV Record , The New York Times 25 Feb. 1997, accessed 24 April 2020
- ↑ Christian Hörburger: Overwhelmed, unresolved. In: Der Tagesspiegel of March 30, 1997, p. 25, retrieved online via GBI-Genios on April 7, 2021
- ^ a b c d e Emiliano Perra: Conflicts of Memory. The Reception of Holocaust Films and TV Programs in Italy, 1945 to the Present ( Italian Modernities , No. 8), Peter Lang Verlag , Bern 2011, ISBN 978-3-03911-880-9 , p. 183 f.
- ↑ Andy Pearce, Holocaust Consciousness in Contemporary Britain , Routledge, New York 2014, ISBN 978-0-203-48421-0 , pp. 201, 282
- ^ a b c Oren Meyers, Eyal Zandberg, Motti Neiger: Prime Time Commemoration: An Analysis of Television Broadcasts on Israel's Memorial Day for the Holocaust and the Heroism , in: Journal of Communication 2009 (vol. 59), pp. 456– 480, here: p. 474, note 2
- ↑ a b Michael Wölfle, Ignatz Bubis : "Schindler's List" with commercial break? , in: Leipziger Volkszeitung of March 26, 1997, p. 8, retrieved online via GBI-Genios on April 7, 2021
- ↑ Schindler's List at Online Film Database , retrieved April 24, 2020
- ↑ cf. Cut reports at Schindler's List at Cut Reports.com , accessed April 2, 2021
- ^ a b c d Eileen Fitzpatrick: MCA Lists 'Schindler' Special Box At $139.98 , in Billboard 25 June 1994, pp. 6, 110
- ↑ Schindler's List (1993) , in: LaserDisc Database, accessed April 18, 2020
- ↑ Chris McGowan, 'Schindler,' 'T2' Lead The Way In Special Edition Explosion , in Billboard 2 July 1994, p. 93
- ↑ Schindler's List Blu-ray (20th Anniversary Limited Edition) , at: Blu-ray.com , accessed May 22, 2020
- ↑ Schindler's List Blu-ray (25th Anniversary Edition) , at: Blu-ray.com , accessed May 22, 2020
- ^ a b c Schindler's List 4K Blu-ray (25th Anniversary Edition) , in: Blu-ray.com , accessed May 22, 2020
- ↑ Schindler's List goes on sale as a video , in: Horizon No. 1 of Jan. 13, 1995, p. 17, retrieved online via GBI-Genios on May 14, 2020
- ↑ Jörg Rumbucher: Universal reissues "Schindler's List" , in: Blickpunkt:Film from January 25, 2019, retrieved on May 31, 2020
- ↑ Kenneth Sweeney: DVD Playback , in: American Cinematographer , June 2004, accessed May 21, 2020
- ↑ 'Schindler's List' 25th Anniversary Edition Soundtrack Announced , in Film Music Reporter on 23 Nov 2018, accessed 5 April 2020
- ↑ Chloe Melas: Steven Spielberg warns against hate as 'Schindler's List' turns 25 , in: CNN.com of 6 Dec 2018, accessed 18 Dec 2020
- ↑ a b Schindlers Liste , in: Blickpunkt:Film website , retrieved April 16, 2020
- ↑ Schindler's List – 2018 Re-release , in: Box Office Mojo , accessed April 16, 2020
- ↑ a b Aggregated score from mostly English language reviews.
- ↑ Schindler's List. In: Rotten Tomatoes . Fandango, accessed 1 July 2021 (English).
- ↑ Schindler's List. In: Metacritic . CBS , accessed July 1, 2021 (English).
- ↑ Pamela McClintock, Why CinemaScore Matters for Box Office , in The Hollywood Reporter , 19 Aug 2011, accessed 28 Aug 2020
- ↑ Schindler's List , in: Deutsche Film- und Medienbewertung (FBW) , accessed 29 Sep. 2020
- ↑ a b Sabine Horst: criticism of Schindler's list , in: epd film of March 1, 1994, retrieved on August 28, 2020
- ↑ a b Jörn Glasenapp : Schindler's list , in: Torben Fischer, Matthias N. Lorenz (eds.): Lexicon of »coming to terms with the past« in Germany. Debate and discourse history of National Socialism after 1945 ( Histoire , No. 53), 3rd edition, transcript Verlag , Bielefeld 2015, ISBN 978-3-8394-2366-0 , p. 281 f.
- ↑ Christoph Classen: Balanced Truth: Steven Spielberg's Schindler's List among History, Memory, and Popular Culture , in: History and Theory No. 2 from 2009 (48th year), pp. 77-102, here: p. 79
- ↑ Helmut Korte: Introduction to systematic film analysis , 4th edition, Erich Schmidt Verlag, Berlin 2010, ISBN 978-3-503-12241-7 , p. 167
- ↑ Jochen Kürten: Return to the cinema: "Schindler's List" , in: Deutsche Welle of January 26, 2019, retrieved on August 18, 2021
- ↑ David Ansen: Spielberg's Obsession , in: Newsweek of 20 Dec. 1993, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397-6472-3 , pp. 56–64
- ↑ a b Brian L. Ott, Carl R. Burgchardt: On Critical-Rhetorical Pedagogy: Dialoging with Schindler's List , in: Western Journal of Communication , No. 1/2013 (77th year), pp. 14–33, here : p. 21
- ↑ Dana Feldman: Universal Honors 25th Anniversary Of 'Schindler's List' During A Time Of Rising Anti-Semitism , in Forbes 6 Dec 2018, accessed 30 Aug 2020, quote: "A story of courage that the world needs now more than ever"
- ↑ Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397-6472-3 , p. 243 ff.
- ↑ Manfred Riepe: Still at the right time , in: taz of February 26, 1994, retrieved on May 21, 2021
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165–189, here: pp. 165 f.
- ↑ a b c Silvia Bahl: "Holocaust" & "Schindler's List" , in: Film-Dienst of Jan. 25, 2019, retrieved on April 18, 2020
- ↑ a b Claude Lanzmann : You shouldn't cry. Objection to Schindler's list , in: FAZ of March 5, 1994 (originally published as Holocauste, la representation impossible on March 3, 1994 in: Le Monde ), here in: Christoph Weiß (ed.): "Der Gute Deutsche" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 173–178
- ^ Teacher 1997, p. 216, original quotes from R. Hilberg: "only one Claude Lanzmann, only one Shoah ", "[impossible to do] better or more"
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193-212, here: p. 204, original quote T. Segev: "dramatic injections or emotional manipulation"
- ↑ Siegfried Kohlhammer: Anathema. The Holocaust and the Ban on Images , in: Merkur No. 543/1994 (48th year), pp. 501–509, citations from pp. 508 f.
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193-212, here: p. 205, original quotes from Y. Bauer in the same order: "ideological platform", "total nonsense ', 'appropriate for dealing with evil'
- ↑ Teacher 1997, p. 216, original quote from L. Boeken: "[no one has] author's copyright over la mémoire "
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 454 f.
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 437
- ↑ a b Urs Jenny : From the Great Murder , in: Der Spiegel of Feb. 21, 1994, retrieved on Oct. 10, 2020
- ↑ Leon Wieseltier : Close Encounters of the Nazi Kind , in: The New Republic of 24 Jan. 1994, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0 -8397-6472-3 , pp. 116-118, quote from p. 117: "sadistic trick"
- ↑ Roger Ebert : Schindler's List , originally in: Chicago Sun-Times of Dec. 15, 1993, retrieved online here on July 2, 2020, original quote: "brilliantly acted, written, directed and seen. [Individual scenes are] masterpieces of art direction, cinematography, special effects, crowd control.”
- ↑ Stanley Kauffmann: Spielberg Revisited , in: The New Republic of 24 Jan. 1994, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397-6472 -3 , pp. 112–115
- ↑ Scott Rosenberg: The Paradox of a Candle , in: San Francisco Examiner of 15 Dec. 1993, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0- 8397-6472-3 , pp. 175-178
- ↑ a b Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193-212, here: pp. 201 f., original quote by DJ Schemo from p. 202: "embracing the anomaly and calling it history"
- ↑ Sacha Batthyany , Mikael Krogerus: A life after death (interview with Imre Kertesz ), in: Album – Der Standard (print edition of 14/15 Nov. 2009), here as an online contribution at DerStandard.at from 13. Nov 2009, accessed 27 May 2021
- ↑ Duncan Wheeler: GODARD'S LIST: WHY SPIELBERG AND AUSCHWITZ ARE NUMBER ONE , in: Media History No. 2/2009 (15th year), pp. 185-203, here: pp. 185, 188
- ↑ Cordelia Edvardson : The film hurts me , in: Publik-Forum No. 11 of June 10, 1994 (originally in: Svenska Dagbladet of March 13, 1994), here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , p. 266 ff.
- ↑ a b Ralf Schenk : Portrait of a savior in the staccato of horror , in: Neues Deutschland from March 1, 1994, here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3 -86110-055-X , pp. 99–103, quoted from p. 102
- ↑ Micha Brumlik : A German of the third kind , in: taz of March 3, 1994, here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055- X , pp. 114–118
- ↑ Ruth Klüger : "Whoever saves a life saves the whole world" , in: Deutsches Allgemeines Sonntagsblatt of 13 Feb. 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 33–38, quote from pp. 33 f.
- ↑ a b Jan Taubitz: Holocaust Oral History and the Long End of Contemporary Witness. Wallstein-Verlag, Göttingen 2016, ISBN 978-3-8353-1843-4 , p. 246
- ↑ Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , p. 442
- ↑ Esther Margolis (ed.): Testimony. The Legacy of Schindler's List and the USC Shoah Foundation , Newmarket Press for IT Books, New York 2014, ISBN 978-0-06-228518-8 , pp. 147, 158 f., 172
- ↑ a b Sonja M. Schultz : National Socialism in Film , Bertz + Fischer Verlag , Berlin 2012, ISBN 978-3-86505-314-5 , p. 245
- ↑ a b Jan Taubitz: Holocaust Oral History and the Long End of Contemporary Witness. Wallstein-Verlag, Göttingen 2016, ISBN 978-3-8353-1843-4 , p. 258
- ↑ a b Jan Taubitz: Holocaust Oral History and the Long End of Contemporary Witness. Wallstein-Verlag, Göttingen 2016, ISBN 978-3-8353-1843-4 , p. 250
- ↑ Jörg Thunecke: "Those who want to live die and those who wish to be dead must live" , in: Viktoria Hertling (ed.): With the eyes of a child - Children in the Holocaust, Children in Exile, Children under Fascism ( Amsterdamer Publications on Language and Literature , Volume 134), Rodopi , Amsterdam 1998, ISBN 9042006234 , p. 26 ff., here: p. 28 f.
- ↑ Jörg Hafkemeyer: The girl in the red coat , in: Deutschlandfunk Kultur from 25 Dec. 2007, retrieved on 1 Sep. 2020
- ↑ Jan Taubitz: Holocaust Oral History and the Long End of Contemporary Witness. Wallstein-Verlag, Göttingen 2016, ISBN 978-3-8353-1843-4 , p. 254
- ↑ Andy Pearce, Holocaust Consciousness in Contemporary Britain , Routledge, New York 2014, ISBN 978-0-203-48421-0 , p. 65
- ↑ a b Jonathan Alter: After the Survivors , in: Newsweek of 20 Dec. 1993, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397- 6472-3 , pp. 196-201
- ↑ Stanley Kauffmann: A New Spielberg , in The New Republic , 10 Dec 1993, accessed 8 May 2020
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 196
- ^ a b Yosefa Loshitzky: Introduction , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 1–17, here: p. 6
- ↑ Elaine Dutka: They Made the 'List' and Lived , Los Angeles Times 12 Dec 1993, accessed 18 April 2020
- ↑ Frank Manchel: A Reel Witness: Steven Spielberg's Representation of the Holocaust in Schindler's List , in: The Journal of Modern History No. 1/1995 (67th year), pp. 83-100, here: here: p. 89 f.
- ↑ a b Lynn Rapaport: Hollywood's Holocaust: Schindler's List and the Construction of Memory . In: Film & History: An Interdisciplinary Journal of Film and Television Studies No. 1/2002 (32nd year), pp. 55–65, here: pp. 61 f.
- ↑ Terrence Rafferty: “A Man of Transactions” , in: The New Yorker of 20 Dec. 1993, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0 -8397-6472-3 , pp. 83–89, original quote from p. 88: “[It is] by far the finest, fullest dramatic (ie, non-documentary) film ever made about the Holocaust. [And few American movies since the silent era have had anything approaching this picture's] narrative boldness, visual audacity, and emotional directness"
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 203
- ↑ Philip Gourevitch : A Dissent on “Schindler's List” , in: Commentary , February 1994, accessed April 4, 2021, original quote: “an all-too-common mode of contemporary flattery” (Article in a similar form also appeared under the title Genocide Pop in the Washington Post of January 16, 1994)
- ↑ Jim Hoberman: Spielberg's Oskar , translated into German in: die tageszeitung , March 3, 1994, p. 13, originally published in English in: The Village Voice , December 21, 1993
- ↑ Schindler's List: Myth, movie, and memory , in The Village Voice 29 Mar. 1994, pp. 24-31, accessed at the University of Pennsylvania web site on 29 Aug. 2020
- ↑ a b Stephen Schiff: Seriously Spielberg , in: The New Yorker of March 21, 1994, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995, ISBN 0-8397- 6472-3 , pp. 142–164, quotes in the same order: “almost unmentionable secret” (p. 148), “storytelling confidence and flair” (p. 148), “the effect of a giant bar mitzvah, a rite of passage. Prince Hal has become Henry V; the dauphin has emerged a king.” (p. 144)
- ↑ Christopher Stern: Solon blasts NBC over 'List' content , in Variety of 25 Feb 1997, accessed 24 April 2020, Al D'Amato originally quoted: “outrageous and offensive”
- ↑ Classes accompanied by protests , in: Nürnberger Nachrichten of April 13, 1994, retrieved online via GBI-Genios on April 7, 2021
- ↑ Iver Peterson: Emphasis on Holocaust Film in Fighting Racism Criticized , in: The New York Times of 19 Feb. 1994, here in: Thomas Fensch (ed.): Oskar Schindler and His List , Paul S. Eriksson, Forest Dale 1995 , ISBN 0-8397-6472-3 , p. 235 f.
- ↑ Ingrid Lohmann : Schindler's List Revisited or "Teaching the Holocaust"? , in: Helmut Schreier, Matthias Heyl (ed.): "That Auschwitz is not again..." , Verlag Dr. R. Krämer, Hamburg 1995, ISBN 3-89622-001-2 , pp. 205-219, here: p. 217 (message 14 from CNN)
- ↑ a b Karen Diegmueller, 'Schindler's List' Spurring Calls for Holocaust Education , in: Education Week No. 27 of 1994, accessed 7 May 2020
- ↑ Thomas D. Fallace: The Emergence of Holocaust Education in American Schools , Palgrave Macmillan , New York 2008, ISBN 978-0-230-61115-3 , pp. 115 f.
- ↑ Werner Schneider: Oskar Schindler – Steven Spielberg. Whoever saves a single life saves the whole world , Bernstein-Verlag , Bonn, Siegburg 2016, ISBN 978-3-945426-24-1 , p. 77
- ↑ Christoph Weiß: Preliminary remarks, in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , p. 9
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 465
- ↑ Scott D. Denham: Schindler Returns to Open Arms: "Schindler's List" in Germany and Austria , in: German Politics & Society No. 1/1995 (13th year), pp. 135-146, here: p. 135
- ↑ Stadtchronik 1994 , in: Institute for City History (Frankfurt am Main) , retrieved on April 18, 2020
- ^ Scott D. Denham: Schindler Returns to Open Arms: "Schindler's List" in Germany and Austria , in: German Politics & Society No. 1/1995 (13th year), pp. 135-146, here: p. 142
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 166-168
- ↑ a b Hans-Ulrich Jörges : A film grabs the Germans , in: The week of March 3, 1994, here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3 -86110-055-X , p. 131 f.
- ↑ Helga Amesberger , Brigitte Halbmayr : "Schindler's list" makes school , Braumüller, Vienna 1995, ISBN 3-7003-1107-9 , p. 15
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 173 f.
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 176
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 177
- ↑ a b Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 442
- ↑ Georg Seeßlen : Shoah, or the story of the untold , in: Friday of March 4, 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110- 055-X , p. 158 ff., citations from p. 166
- ↑ The task of keeping memories alive. Federal President Herzog in Israel: "The Federal Republic is a stable democracy" , in: Der Tagesspiegel No. 15114 of December 7, 1994, retrieved online via GBI-Genios on April 7, 2021
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 169
- ↑ Gabriele von Arnim : From action in murderous time , in: Süddeutsche Zeitung from 26./27. Feb. 1994, here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 70-73, citations from p. 73
- ↑ Quote from Simon Wiesenthal from Der Standard of March 9, 1994, reproduced in: Helga Amesberger , Brigitte Halbmayr : "Schindler's list" makes school , Braumüller, Vienna 1995, ISBN 3-7003-1107-9 , p. 29
- ↑ Beatrice Behn: The images are returning , in: FAZ of Jan. 27, 2019, retrieved on May 10, 2021
- ↑ Melissa Eddy: Offered Free Tickets for 'Schindler's List,' Germany's Far Right Sees a Provocation , in: The New York Times of Jan. 3, 2019, accessed Feb. 26, 2021
- ↑ Joachim Bruhn : Love and exploitation. Steven Spielberg and the virtual reality of National Socialism , in: Socialist Forum Initiative (ed.): Schindlerdeutsche: A cinema dream from the Third Reich . Ça ira Verlag , Freiburg 1994, ISBN 3-924627-40-1 , pp. 135–147, here: p. 141
- ↑ Christ in Offenbach , in: Der Spiegel of June 19, 1994, retrieved on April 16, 2021
- ↑ a b Helga Amesberger , Brigitte Halbmayr : "Schindler's list" makes school , Braumüller, Vienna 1995, ISBN 3-7003-1107-9 , p. 13, 16 f.
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 171, quote from ibid
- ↑ Helga Amesberger , Brigitte Halbmayr : "Schindler's list" makes school , Braumüller, Vienna 1995, ISBN 3-7003-1107-9 , p. 30
- ↑ Liliane Weissberg: The Tale of a Good German. Reflections on the German Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 171–192, here: p. 177
- ↑ Arbeitshilfe zum Film , Katholisches Filmwerk , retrieved 27 Sep. 2020
- ↑ Teaching material SCHINDLERS LISTE , in: Vision Kino , retrieved on 27 Sep. 2020
- ↑ Helga Amesberger , Brigitte Halbmayr : "Schindler's list" makes school , Braumüller, Vienna 1995, ISBN 3-7003-1107-9 , p. 126 f.
- ↑ Annette Rogalla: An acquittal that forms right-wing myths , in: taz of Feb. 4, 1995, retrieved on Jan. 2, 2021
- ↑ Teachers' association warns of "climate of intimidation" , in: FAZ of Oct. 20, 2020, retrieved on Oct. 23, 2020
- ^ a b William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 179
- ↑ Sigrid Löffler : Cinema as an indulgence , in: Wochenpost from 24 Feb. 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , p. 57 ff., quotes from p. 58
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: p. 180
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 182 f., quote from p. 183
- ↑ Engel in der Hölle , in: Der Spiegel (originally published in No. 8/1994, p. 174), retrieved online here on 31 Oct. 2020
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 168 f.
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 43
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 44
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: pp. 41 f. (quote from p. 42)
- ↑ Liliane Weissberg: The Tale of a Good German. Reflections on the German Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 171–192, here: pp. 184 f.
- ↑ Franz Everschor : "Schindler's List" , in: Film-Dienst No. 4/1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055 -X , pp. 38–42
- ↑ Heiko Rosner: "Schindler's List": The definitive film about the horror of Nazi terror , in: Cinema No. 190, March 1994, here in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 85–90
- ↑ Will Tremper : Indiana Jones in the Kraków ghetto , in: Die Welt dated 26 Feb. 1994, p. G3, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 63 ff., citations from pp. 64 and 67
- ↑ a b Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 447
- ↑ Artur Brauner : A pamphlet that became a scandal , in: The world of April 2, 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110 -055-X , p. 224 ff.
- ↑ Elisabeth Bauschmid: Crown witness Himmler , in: Süddeutsche Zeitung of March 3, 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 109-111
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 449
- ↑ Geistige Welt is looking for a new boss , in: Süddeutsche Zeitung No. 104 of May 6, 1994, p. F13, retrieved online via GBI-Genios on April 7, 2021
- ↑ Abba? Fleet banal fare in go-go atmosphere , in: Die Welt , April 2, 2016, retrieved April 2, 2021
- ↑ Henryk M. Broder : Criticism of the stupid fellows , in: FAZ of March 15, 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055 -X , p. 183 ff., quotations from p. 187 f.
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 446 f.
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 448
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 450
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 451
- ↑ Andreas Kilb : Taunting , in: The time of March 25, 1994, here in: Christoph Weiß (ed.): "The good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , p 205–207, citations from p
- ↑ Detlev Claussen : Continuation of the fairy lights with other means? , in: Initiative Socialist Forum (ed.): Schindler German: A cinema dream of the Third Reich . Ça ira Verlag , Freiburg 1994, ISBN 3-924627-40-1 , pp. 127–133, here: p. 128
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 452
- ↑ Karin Truscheit: Useful abominations and valuable sex , in: Frankfurter Allgemeine Sunday newspaper of Oct. 12, 2010, retrieved on Oct. 31, 2020
- ↑ Natasha Lehrer: Between Obsession and Amnesia. Reflections on the French Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 213–225, here: p. 215
- ↑ a b Natasha Lehrer: Between Obsession and Amnesia. Reflections on the French Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 213–225, here: p. 218
- ↑ Andreas Schmoller: Past that does not pass. The memory of the Shoah in France since 1945 in the medium of film (PDF; 1.6 MB; accessed 28 Feb. 2021), StudienVerlag , Innsbruck 2010, ISBN 978-3-7065-4853-3 (dissertation, Uni Salzburg 2009) , p. 165 f.
- ↑ Erin Bell, “Britain's Secret Schindler”: The Impact of Schindler's List on British Media Perceptions of Civilian Heroes , in: Nigel Morris (ed.): A Companion to Steven Spielberg , John Wiley & Sons , Chichester 2017, ISBN 978-1 -118-72681-5 , pp. 320–335, here: p. 328
- ^ a b c Tomas Sniegon: Vanished History. The Holocaust in Czech and Slovak Historical Culture , Berghahn Books , New York 2014, ISBN 978-1-78238-294-2 , chap. 4 (p. 107 ff.), especially pp. 107, 114–116, 123, 127 f., original quotes from the Mladá fronta Dnes from p. 127: “could help us to learn differentiated with criticism in our past” , "the general condemnations of the Sudeten Germans cannot last forever"
- ↑ The text on the commemorative plaque in Zwittau reads: "OSKAR SCHINDLER / THE UNFORGETTED LIFE SAVER / 1200 PERSECUTED JEWS / * April 28, 1908 Zwittau † October 9, 1974 HILDESHEIM"
- ↑ a b Helga Hirsch : Benefactor out of fear? , in: Die Zeit No. 11/1994, retrieved on 25 Sep. 2020
- ↑ Rick Richardson, Krakow welcomes 'Schindler' , in Variety , March 2, 1994, accessed Sep 11. 2020, original quotes W. Dąbrowski: “[This film] touches deeply […] fine statement.”
- ↑ Andrew Nagorski, 'Schindler's List' Hits Home , in Newsweek of March 13, 1994, accessed Sep 25. 2020, original quote from A. Wrobliewska: "[But it requires] a touch of balance."
- ↑ Martina Thiele: Journalistic controversies about the Holocaust in film , LIT Verlag , Münster 2001, ISBN 3-8258-5807-3 , p. 434 f.
- ↑ German translation of the original Polish quote "hitlerowcy"
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193–212, here: p. 193
- ↑ a b Nigel Morris: the cinema of Steven Spielberg. empire of light. Columbia University Press , New York, Chichester 2007, ISBN 978-0-231-50345-7 , p. 217
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193–212, here: p. 199
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193-212, here: p. 201, original quote by T. Segev: "Just spare us the bullshit!"
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193–212, here: p. 207
- ↑ Yosefa Loshitzky: Introduction , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 1–17, here: p. 8
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193–212, here: p. 205
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193-212, here: p. 201, original quotes U. Schin: "partial but complex way of dealing with the painful subject ", "pornography of horror", "[Spielberg succeeds] where the many and good have failed"
- ↑ Censors ban "Schindler's List" , in: Der Tagesspiegel of June 3, 1994, retrieved online via GBI-Genios on April 7, 2021
- ↑ William Branigin: The Manila Envelope, please... , in: Washington Post of June 16, 1994, accessed May 3, 2020, original quote from the Committee for World Muslim Solidarity: "Zionist propaganda"
- ↑ Charles P. Wallace, Malaysian Censors Move to Ban 'List' , Los Angeles Times , March 24, 1994, accessed May 8, 2020
- ↑ a b Bernard Weinraub, Islamic Nations Move to Keep Out 'Schindler's List' , The New York Times , April 7, 1994, accessed May 8, 2020
- ↑ a b c Schindler's List – Awards , Internet Movie Database , accessed April 18, 2020
- ↑ Countdown for the German Audio Film Award 2020: Special Jury Prize for film classics "Schindler's List" (press release), in: Web presence of the German Audio Film Award of March 10, 2020, retrieved on May 31, 2020
- ↑ Werner Schneider: Oskar Schindler – Steven Spielberg. Whoever saves a single life saves the whole world , Bernstein-Verlag , Bonn, Siegburg 2016, ISBN 978-3-945426-24-1 , p. 88
- ↑ Werner Schneider: Oskar Schindler – Steven Spielberg. Whoever saves a single life saves the whole world , Bernstein-Verlag , Bonn, Siegburg 2016, ISBN 978-3-945426-24-1 , p. 90
- ↑ Meredith Hindley: Steven Spielberg , National Endowment for the Humanities , ca. 1999, accessed June 4, 2021
- ↑ Italy decorates Spielberg for his Holocaust work , in: Deseret News of April 15, 2004, accessed April 19, 2020
- ↑ Spielberg appointed Knight of Honour , in: Berliner Zeitung of April 15, 2004
- ↑ The film favorites of Vatican Rome , in: Frankfurter Neue Presse of March 5, 1996, retrieved online via GBI-Genios on April 7, 2021
- ↑ Complete National Film Registry Listing , in: Library of Congress web site , accessed April 18, 2020
- ↑ "Schindler's List" best film of the decade , in: Sächsische Zeitung of Jan. 6, 2000, p. 16, retrieved online via GBI-Genios on April 7, 2021
- ↑ The 100 greatest American films , BBC web site , 2015, accessed 23 Jan 2021
- ↑ The 80 Best-Directed Films , in: Directors Guild of America web site , 2016, accessed April 19, 2020
- ↑ 101 Greatest Screenplays , in: Writers Guild of America web site , ca. 2005, accessed 19 April 2020
- ↑ AFI'S 100 YEARS...100 MOVIES — 10TH ANNIVERSARY EDITION , in: American Film Institute , 2007, accessed April 18, 2020
- ↑ IMDb Top 250 , in: IMDb , accessed 8 Sep. 2021
- ↑ Traugott Roser : Conversion as a recurring motif in Steven Spielberg's films , in: Practical Theology No. 4/2019 (54th year), pp. 217-221, here: p. 220
- ↑ Patrizia Tonin: Shoah after Spielberg. Holocaust and Hollywood, or Schindler's List , in: Edith Dörfler et al. (Ed.): Medien & Zeit No. 3/1997: Film und Holocaust , pp. 40–51, here: p. 41
- ↑ Patrizia Tonin: Shoah after Spielberg. Holocaust and Hollywood, or Schindler's List , in: Edith Dörfler et al. (Ed.): Medien & Zeit No. 3/1997: Film und Holocaust , pp. 40–51, here: p. 44
- ↑ Sven Kramer: Auschwitz in conflict . Springer Fachmedien , Wiesbaden 1999, ISBN 978-3-8244-4366-6 , p. 9
- ↑ Sven Kramer: Auschwitz in conflict . Springer Fachmedien , Wiesbaden 1999, ISBN 978-3-8244-4366-6 , p. 13
- ↑ Patrizia Tonin: Shoah after Spielberg. Holocaust and Hollywood, or Schindler's List , in: Edith Dörfler et al. (Ed.): Medien & Zeit No. 3/1997: Film und Holocaust , pp. 40–51, here: p. 49
- ↑ a b Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 55
- ↑ Sven Kramer: Auschwitz in conflict . Springer Fachmedien , Wiesbaden 1999, ISBN 978-3-8244-4366-6 , p. 36
- ↑ Thomas Elsaesser : Subject Positions, Speaking Positions: From HOLOCAUST and HEIMAT to SHOAH and SCHINDLER'S LIST , in: Vivian Sobchack (ed.): The Persistence of History. Cinema, television, and the modern event ( AFI film readers series ), Routledge , New York 1996, ISBN 0-415-91084-6 , pp. 145–183, here: pp. 177 f., original quote from p. 178: "almost mythical authority"
- ↑ Peter Schulze : History layers. On the depiction of the Holocaust by Steven Spielberg and Roman Polanski , in: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 61-75, here: pp. 69 f.
- ↑ Christoph Classen: Balanced Truth: Steven Spielberg's Schindler's List among History, Memory, and Popular Culture , in: History and Theory No. 2 from 2009 (48th year), pp. 77-102, here: p. 94
- ↑ a b Patrizia Tonin: Shoah after Spielberg. Holocaust and Hollywood, or Schindler's List , in: Edith Dörfler et al. (Ed.): Medien & Zeit No. 3/1997: Film und Holocaust , pp. 40–51, here: p. 46
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 205
- ↑ Catrin Corell: The Holocaust as a challenge for film , Transcript Verlag , Bielefeld 2009, ISBN 978-3-89942-719-6 , p. 233 ff., here: p. 251
- ↑ José Díaz-Cuesta Galián: Man as Rescuer and Monster in Steven Spielberg's Film Text Schindler's List , in: Journal of English Studies , 5./6. 2005–2008, pp. 63–81, here: pp. 71 f.
- ↑ a b Eric Sterling: All Rules Barred: A Defense of Spielberg's Schindler's List , in: Film & History No. 2/2002 (32nd year), pp. 62–71, here: p. 65
- ↑ Joseph McBride: Steven Spielberg. A Biography. Second Ed., University Press of Mississippi, Jackson 2010, ISBN 978-1-60473-836-0 , p. 428 f., quote from p. 429: "Jewish bitch"
- ↑ Sara R. Horowitz: But is it Good for the Jews? Spielberg's Schindler and the Aesthetics of Atrocity , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 119–139, here: p. 125
- ↑ Henry Gonshak, Hollywood and the Holocaust . Rowman & Littlefield , Lanham 2015, ISBN 978-1-4422-5223-3 , pp. 187 ff., here: p. 204
- ↑ Nigel Morris: the cinema of Steven Spielberg. empire of light. Columbia University Press , New York, Chichester 2007, ISBN 978-0-231-50345-7 , p. 226 f., original quote (p. 226) by SR Horowitz reproduced therein: “out of a Nazi propaganda poster on eugenics and racial science"
- ↑ Sven Kramer: Auschwitz in conflict . Springer Fachmedien , Wiesbaden 1999, ISBN 978-3-8244-4366-6 , p. 10
- ↑ Judith E. Doneson: The Image Lingers: The Feminization of the Jew in Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 140–152, here: pp. 143 and 145
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipziger Universitätsverlag, Leipzig 1998, ISBN 978-3-933240-05-7 , pp. 99-101
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipziger Universitätsverlag, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 101 f.
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipzig University Press, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 104
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipziger Universitätsverlag, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 105 f.
- ↑ Johannes-Michael Noack: "Schindler's list" - authenticity and fiction in Spielberg's film , Leipziger Universitätsverlag, Leipzig 1998, ISBN 978-3-933240-05-7 , p. 109
- ↑ Helmut Korte: Introduction to systematic film analysis , 4th edition, Erich Schmidt Verlag , Berlin 2010, ISBN 978-3-503-12241-7 , pp. 167-215, here: p. 197
- ↑ Manuel Köppen: From Effects of the Authentic , in: Manuel Köppen, Klaus R. Scherpe (ed.): Images of the Holocaust , Böhlau Verlag , Cologne and Vienna 1997, ISBN 3-412-05197-7 , pp. 145-170, here: p. 158
- ↑ a b Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 51
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 56
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 58
- ↑ a b Yosefa Loshitzky: Holocaust Others: Spielberg's Schindler's List versus Lanzmann's Shoah , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 104–118, here: pp. 109 f.
- ↑ Catrin Corell: The Holocaust as a challenge for film , Transcript Verlag , Bielefeld 2009, ISBN 978-3-89942-719-6 , pp. 233 ff., here: pp. 258-260
- ↑ Ora Gelley: Narration and the Embodiment of Power in “Schindler's List” , in: Film Criticism No. 2 from 1997/98 (22nd year), pp. 2–26, here: pp. 17–20
- ↑ Tobias Ebbrecht: Images of history in media memory , transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 , p. 188
- ↑ Tobias Ebbrecht: Historical images in media memory , transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 , pp. 188-191
- ↑ Tobias Ebbrecht: Images of history in media memory , transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 , p. 198
- ↑ a b Sabine Moller: See contemporary history. The appropriation of the past through films and their viewers ( Deep focus , No. 27), Bertz + Fischer Verlag , Berlin 2018, ISBN 978-3-86505-330-5 , p. 136
- ↑ Sonja M. Schultz : National Socialism in Film , Bertz + Fischer Verlag , Berlin 2012, ISBN 978-3-86505-314-5 , p. 241
- ↑ Tobias Ebbrecht: Images of history in media memory , transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 , p. 194 f.
- ↑ a b c d Eckart Oehlenschläger: Steven Spielberg's film Schindler's List: "Based on the novel by Thomas Keneally". In: Klaus L. Berghahn , Helmut J. Schneider, Jürgen Fohrmann (eds.): Cultural Representations of the Holocaust in Germany and the United States , Peter Lang Verlag, New York 2002, ISBN 0-8204-5208-4 , p. 97 –110, quoted in same order from p. 100 (by T. Keneally), 106 (two) and 109
- ↑ a b Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 52
- ↑ a b Michael Wildt : The Invented and the Real: Historiographical Notes on Schindler's List , in: History Workshop Journal No. 41 from 1996, pp. 240-249 (translation from the German), here: p. 246
- ↑ Matías Martínez : Authenticity as artificiality in Steven Spielberg's film Schindler's List . In: Günter Giesenfeld , Thomas Koebner (ed.): Augen-Blick No. 36 from 2004, pp. 39-60, here: p. 53
- ↑ Daniel Mark Fogel: 'Schindler's List' in novel and film: Exponential conversion , in: Historical Journal of Film, Radio and Television No. 3/1994 (14th year), pp. 315-320, here: p. 317
- ^ a b c Elias Berner: 'Remember me, but forget my fate' – The use of music in Schindler's List and In Darkness . In: Holocaust Studies , Special Edition Contemporary Holocaust Film , 2019, pp. 1–15, here: pp. 3–7
- ↑ Bettina Schlueter: Strategic narrative functions of film music in Schindler's list , in: Klaus L. Berghahn , Helmut J. Schneider, Jürgen Fohrmann (eds.): Cultural representations of the Holocaust in Germany and the United States , Peter Lang Verlag, New York 2002, ISBN 0-8204-5208-4 , pp. 83–96, here: p. 85
- ↑ a b Sandra Nuy: Memory cultures. About the commemoration of the Shoah through film , in: Sigrid Baringhorst , Ingo Broer (ed.): Grenzgänge(r). Contributions to politics, culture and religion , universi, Siegen 2004, ISBN 978-3-936533-14-9 , pp. 301-312, here: here: p. 301
- ↑ Haim Bresheeth: The Great Taboo Broken. Reflections on the Israeli Reception of Schindler's List , in: Yosefa Loshitzky (ed.): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 193–212, here: pp. 199 f.
- ↑ Manuel Köppen: From Effects of the Authentic , in: Manuel Köppen, Klaus R. Scherpe (ed.): Images of the Holocaust , Böhlau Verlag , Cologne and Vienna 1997, ISBN 3-412-05197-7 , pp. 145-170, here: p. 164 f.
- ↑ Robert A. Erlewine: When the Blind Speak of Colour: Narrative, ethics and stories of the Shoah , in: Journal of Visual Art Practice No. 1/2001 (1st year), pp. 25-36, here: pp 28 f.
- ↑ Miriam Bratu Hansen: Schindler's List is not Shoah: Second Commandment, Popular Modernism and Public Memory , in: Critical Inquiry No. 2/1995 (22nd year), pp. 292-312, here in: Yosefa Loshitzky (ed. ): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 77–103, here: p. 99
- ↑ Miriam Bratu Hansen: Schindler's List is not Shoah: Second Commandment, Popular Modernism and Public Memory , in: Critical Inquiry No. 2/1995 (22nd year), pp. 292-312, here in: Yosefa Loshitzky (ed. ): Spielberg's Holocaust. Critical Perspectives on Schindler's List , Indiana University Press, Bloomington 1997, ISBN 0-253-33232-X , pp. 77-103, here: pp. 85 f., original quote from p. 86: "[still undercuts the effect of] an immediate and totalitarian grasp on reality”
- ↑ a b Frank Bösch : Film, Nazi past and history. From "Holocaust" to "The Downfall" , in: Quarterly Journal of Contemporary History No. 1/2007, pp. 1-32, here: p. 20
- ↑ a b Sonja M. Schultz : National Socialism in Film , Bertz + Fischer Verlag , Berlin 2012, ISBN 978-3-86505-314-5 , p. 242
- ↑ Christoph Classen: Balanced Truth: Steven Spielberg's Schindler's List among History, Memory, and Popular Culture , in: History and Theory No. 2 from 2009 (48th year), pp. 77-102, here: pp. 99 ff. , Original quote from p. 99: "ciphers of 'evil'"
- ↑ Susanne Rohr : “'Playing' Nazis,” “mirroring evil”: The Americanization of the Holocaust and new forms of its representation , in: Amerikastudien No. 4/2002 (47th year), pp. 539–553, here: abstract
- ↑ Natan Sznaider : The Americanization of the Holocaust , in: Rainer Winter, Natan Sznaider, Ulrich Beck (eds.): Global America? The cultural consequences of globalization , transcript Verlag , Bielefeld 2003, ISBN 3-89942-172-8 , pp. 219-238, here: pp. 224 ff.
- ↑ Michael André Bernstein: The Schindler's List Effect , in: The American Scholar No. 3/1994 (63 vol.), pp. 429-432, original quote from p. 432: "sharp-eyed and unembarrassed resistance."
- ↑ William J. Niven: The reception of Steven Spielberg's Schindler's List in the German Media , in: Journal of European Studies xxv from 1995, pp. 165-189, here: pp. 183 f.
- ↑ Helmut J. Schneider: Giving a face to the dead? On the Problem of Aesthetic Individualization in Schindler's List and the Holocaust TV Series , in: Klaus L. Berghahn , Helmut J. Schneider, Jürgen Fohrmann (eds.): Cultural Representations of the Holocaust in Germany and the United States , Peter Lang Verlag, New York 2002, ISBN 0-8204-5208-4 , pp. 69–82, here: p. 78
- ↑ Quote from A. Kilb, reproduced in: Peter Reichel: Invented Memory. World War and the Murder of the Jews in Film and Theater , Hanser, Munich 2004, ISBN 3-446-20481-4 , p. 301 ff., here: p. 316
- ↑ a b c Peter Reichel: Invented memory. World War and the murder of the Jews in film and theater , Hanser, Munich 2004, ISBN 3-446-20481-4 , p. 301 ff., here: p. 317
- ↑ Quote from Die Zeit , reproduced in: Peter Reichel: Invented memory. World War and the murder of the Jews in film and theater , Hanser, Munich 2004, ISBN 3-446-20481-4 , p. 301 ff., here: p. 317
- ↑ Ingrid Lohmann : Schindler's List Revisited or "Teaching the Holocaust"? , in: Helmut Schreier, Matthias Heyl (ed.): "That Auschwitz is not again..." , Verlag Dr. R. Krämer, Hamburg 1995, ISBN 3-89622-001-2 , pp. 205-219, here: p. 205
- ↑ Ingrid Lohmann : Schindler's List Revisited or "Teaching the Holocaust"? , in: Helmut Schreier, Matthias Heyl (ed.): "That Auschwitz is not again..." , Verlag Dr. R. Krämer, Hamburg 1995, ISBN 3-89622-001-2 , pp. 205-219, here: pp. 218 f.
- ↑ a b c Matthias Weiß: Sensual memory. In: Norbert Frei , Sybille Steinbacher (ed.): Be silent and confess. Post-war German Society and the Holocaust . Wallstein Verlag , Göttingen 2001, ISBN 3-89244-493-5 , pp. 71–102, here: p. 88
- ↑ Matthias Weiß: Sensual memory. In: Norbert Frei , Sybille Steinbacher (ed.): Be silent and confess. Post-war German Society and the Holocaust . Wallstein Verlag , Göttingen 2001, ISBN 3-89244-493-5 , pp. 71–102, here: pp. 88 f.
- ↑ Christoph Weiß: Afterword (to a 'final report') , in: Christoph Weiß (ed.): "The Good German" , Röhrig Universitätsverlag, St. Ingbert 1995, ISBN 3-86110-055-X , pp. 291-306 , here: p. 305 f., quote from H. Karasek from p. 298, quote from C. Weiß from p. 306
- ↑ Manuel Köppen: From Effects of the Authentic , in: Manuel Köppen, Klaus R. Scherpe (ed.): Images of the Holocaust , Böhlau Verlag , Cologne and Vienna 1997, ISBN 3-412-05197-7 , pp. 145-170, here: p. 148
- ↑ Matthias Weiß: Sensual memory. In: Norbert Frei , Sybille Steinbacher (ed.): Be silent and confess. Post-war German Society and the Holocaust . Wallstein Verlag , Göttingen 2001, ISBN 3-89244-493-5 , pp. 71–102, here: p. 89
- ↑ Henning Tümmers: After Persecution and Destruction. The Third Reich and the Germans after 1945 , Kohlhammer Verlag , Stuttgart 2021, ISBN 978-3-17-031932-5 (Series Contemporary History ), p. 203 f.
- ↑ Natan Sznaider : The Americanization of the Holocaust , in: Rainer Winter, Natan Sznaider, Ulrich Beck (eds.): Global America? The cultural consequences of globalization , transcript Verlag , Bielefeld 2003, ISBN 3-89942-172-8 , pp. 219-238, here: p. 229
- ↑ Sandra Nuy: Memory cultures. About the commemoration of the Shoah through film , in: Sigrid Baringhorst , Ingo Broer (ed.): Grenzgänge(r). Contributions to politics, culture and religion , universi, Siegen 2004, ISBN 978-3-936533-14-9 , pp. 301-312, here: p. 308
- ↑ Tobias Ebbrecht: Images of history in media memory , transcript Verlag , Berlin 2011, ISBN 978-3-8376-1671-2 , p. 183 ff., here: p. 185
- ↑ Frank Bösch : Film, Nazi past and history. From "Holocaust" to "The Downfall" , in: Quarterly Journal of Contemporary History No. 1/2007, pp. 1-32, here: p. 16
- ↑ Bert-Oliver Manig: When Spielberg's "Schindler's List" came to German cinemas , in: Deutschlandfunk from March 1, 2019, retrieved on June 4, 2021
- ↑ Traugott Roser : Conversion as a recurring motif in Steven Spielberg's films , in: Practical Theology No. 4/2019 (54th year), pp. 217-221
- ↑ Eva Krafczyk: Steven Spielberg made Kazimierz world famous , website of Die Welt of 26 Dec 2013, accessed 14 Feb 2021
- ↑ Natan Sznaider : The Americanization of the Holocaust , in: Rainer Winter, Natan Sznaider, Ulrich Beck (eds.): Global America? The cultural consequences of globalization , transcript Verlag , Bielefeld 2003, ISBN 3-89942-172-8 , pp. 219-238, here: p. 227
- ↑ Steven J. Stark, JEWISH GROUP HONORS GUARD WHO SAVED BANK DOCUMENTS , in: Chicago Tribune of July 17, 1997, accessed November 19, 2020
- ↑ Manfred Riepe: History or just stories? About reenactment: fiction and reality in the context of re-enacted history on television , in: media correspondence of Dec. 3, 2018, retrieved on Sep. 6. 2020
- ↑ Eva-Kristin Winter: Omer Fasts Spielberg's List: Artistic Interpretation of the Effects of Schindler's List on Tourism and Regional Holocaust Reception , in: ffk Journal No. 2/2017, pp. 160-174, retrieved on 1 Sep. 2020
- ↑ Oskar Schindler's List , distributor and publisher of German stage writers and stage composers , accessed 25 Dec 2020
