Matching Items (6)

Filtering by

Clear all filters

136948-Thumbnail Image.png

ARMAGEDDON REVISITED: SOVIET FILM AND MEMORY OF THE GREAT PATRIOTIC WAR

Description

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.

Contributors

Created

Date Created
2014-05

136925-Thumbnail Image.png

ARMAGEDDON REVISITED: SOVIET FILM AND MEMORY OF THE GREAT PATRIOTIC WAR

Description

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet

The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.

Contributors

Created

Date Created
2014-05

137226-Thumbnail Image.png

French Jewish Emigration, the United States, and the Second World War

Description

At odds with the Axis powers in the Second World War, the American government
began the task of dealing with an influx of Europeans seeking refugee status stateside, even before the Japanese attack Pearl Harbor on December 7, 1941. American

At odds with the Axis powers in the Second World War, the American government
began the task of dealing with an influx of Europeans seeking refugee status stateside, even before the Japanese attack Pearl Harbor on December 7, 1941. American interest in the global situation, nevertheless, did not officially begin after the initial attack on the 7th of December. Before that date, the United States government had to address refugees seeking asylum from European countries. Often studied, German emigration to the United States at times took center stage in terms of the refugee situation after the Nazi regime enacted anti- Semitic legislation in Germany and its occupied nations, prior to the American declaration of war. France, however, had a crisis of its own after the Germans invaded in the summer of 1940, and the fall of France led to a large portion of France occupied by Germany and the formation of a new government in the non-occupied zone, the Vichy regime.
France had an extensive history of Jewish culture and citizenship culture prior to 1940, and xenophobia, especially common after the 1941 National Revolution in France, led to a “France for the French” mentality championed by Marshal Philippe Pétain, Chief of State of Vichy France. The need for the French Jewish population to seek emigration became a reality in the face of the collaborationist Vichy government and anti-Semitic statutes enacted in 1940 and 1941. French anti-Semitic policies and practices led many Jews to seek asylum in the United States, though American policy was divided between a small segment of government officials, politicians, individuals, and Jewish relief groups who wanted to aid European Jews, and a more powerful nativist faction, led by Breckenridge Long which did not support immigration. President Roosevelt, and the American government, fully aware of the situation of French Jews, did little concrete to aid their asylum in the United States.

Contributors

Created

Date Created
2014-05

137586-Thumbnail Image.png

Structural and Autotelic Violence on the Eastern Front of World War II and in the Early Years of the Spanish Dictatorship

Description

This thesis examines autotelic and structural violence as perpetrated by the German Wehrmacht on the Eastern Front of World War II, and General Franco's Nationalist forces during the Spanish Civil War and the early years of Franco's dictatorship. Three victim groups are addressed: civilians, prisoners of war, and women.

Contributors

Created

Date Created
2013-05