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Titlebook: Women in European Holocaust Films; Perpetrators, Victim Ingrid Lewis Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 represe

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楼主: Mottled
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Invisible Resistance: Women’s Contributionted emphasis on traditional definitions of resistance, seen as direct fighting or armed activities, has rendered women invisible in historical accounts. Secondly, it claims that the foregrounding of a few exceptional women who participated in armed combat or in leadership positions equal to men has
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Violent, Erotic, Brainwashed: Stereotypes of Female Perpetrators in Holocaust Films between 1945 andEuropean Holocaust films: concentration camp guards, secretaries and medical personnel. At the core of this chapter are films such as . (1948), . (1963), . (1976), . (1991), . (1999) and . (2000). It argues that the paucity of female figures working within the Nazi system goes hand in hand with thei
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“Ordinary Women” as Perpetrators in Twenty-First-Century Holocaust Cinemardinary women”. Two key films adopt this new perspective: Oliver Hirschbiegel’s . (2004) and Stephen Daldry’s . (2008). In particular, this chapter examines how Hirschbiegel and Daldry construct the characters of two women who worked within the Nazi apparatus: Traudl Junge, Hitler’s last secretary,
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Universalised Victims: Jewish Women in Early Holocaust Filmsers that provide a broad spectrum of identification. The focus of the chapter is on four major films released in the aftermath of the war, namely . (1947), . (1948), . (1948) and . (1949). The chapter argues that the universalisation of Jewish women in the immediate aftermath of the war is not neces
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The Jewish Woman as the Epitome of Holocaust Victimhood in the 1960sfy Jewish women as prime victims of the Holocaust and exhibit a similar pattern in their portrayal. To name just a few of these films: . (1955), . (1959), . (1960), . (1960), . (1960), . (1966) and . (1969). The chapter explains this representational paradigm through the joint effect of three interc
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