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From Nosferatu to Nazism
Patrick Colm Hogan

It has been widely asserted that nationhood is inseparable from narration. This vague claim may be clarified by understanding that nationalism is bound up with the universal prototypical narrative structures of heroic, romantic, and sacrificial tragi-comedy. This essay considers an historically important case of the emplotment of nationalism - the sacrificial organization of German nationalism between the two world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents the vampire in a way that is cognitively continuous with Nazi representations of Jews. The films sacrificial emplotment of vampirism is, in turn, continuous with Nazi policies. That continuity places the film in a larger discourse that helped to make Nazi policies possible.

Film Studies
Alan Rosenthal

facilities. I had the answer. I would use the time researching and planning some film proposals. A few ideas had been bouncing around my head for some months, but one in particular kept drawing me back again and again. That was Communism and the Jews. When I grew up in postwar London one of the political ideas still floating around at the time was that somehow Jews as people, and Bolshevism as a movement, were somehow dramatically intertwined. However, I was intelligent enough to know that this idea of Judeo-Bolshevism, or that Communism was a Jewish conspiracy, was a myth

in The documentary diaries
Abstract only

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Melodramatizing the Hungarian Holocaust
R. Barton Palmer

confronting the increasingly well-documented complicity of Hungarians in the persecution and murder of the majority of the nation's Jews. In the memorable phrase of Daniel Goldhagen, many Hungarians, particularly members of the Arrow Cross, a long-established fascist party that seized control of the government in November 1944, have turned out to be ‘willing executioners’. Arrow Cross gendarmes, as many survivor accounts attest, were enthusiastic participants in the speeded-up management of the final solution in the waning months of the war, even as the increasing dominance

in The films of Costa-Gavras
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Sue Vice

unfamiliarity and incomprehension may constitute what the critic Artur Sandauer calls ‘allosemitism’. This is defined by Zygmunt Bauman as ‘the practice of setting the Jews apart as people radically different from all the others’, whether in a positive or negative way.2 However, this is as far as Rosenthal strays into representations of antisemitism. Rather, gentile responses to Jewishness share in his plays’ customary everyday–surreal illogic, as we see in the following interview of Leo by Lieutenant Commander Gray in Bye, Bye, Baby: gray: Now what mob are you? Church of

in Jack Rosenthal
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Duvivier and the 1930s
Ben McCann

Golder’s weakening heartbeat, and a soft violin can be heard on the soundtrack. When Golder dies, the violin subsides and the ambient sounds of waves and the ship’s engine build to a peak. For many scholars, the most troubling aspect of David Golder is its anti-​Semitism. Garçon (1984) notes that negative depictions of Jews were commonplace in 1930s French cinema. Lynn Higgins (2012) writes that Duvivier gives Jews an ‘oppressive visual presence’; Soifer, an older German Jew who walks on tiptoe to save shoe leather, is given a hooked nose, a high voice, and an

in Julien Duvivier
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Les Misérables, La Rafle and Elle s’appelait Sarah

gendarmes, acting under the authority of their leaders, responded to the Nazis’ demands … Other massive roundups and arrests were to follow. In Paris and in the provinces. Sixty-four trains were to depart for Auschwitz. Seventy-six thousand Jews deported from France would never return. Our debt to them is inalienable.) Introduction: collaboration on screen The events of May 1968 and the discourse of the following decade had a significant impact on the manner in which

in Reframing remembrance
Sylvie Magerstädt

were inspired by his perception of himself as a god. This delusion of Caligula is one of the few instances in which religious references appears explicitly in the show. Similar to The Caesars, Tiberius’s persecution of Jews and Christians does not feature in the series, nor do the expulsions of Jews from Rome under Claudius. Once again, the only religious actions featured are Tiberius consulting his astrologer Thrasyllus, played by the same actor (Kevin Stoney) as in the earlier show. However, prophecy in general plays a much more significant role here than in The

in TV antiquity
Sylvie Magerstädt

contextualised with regard to the political and personal pressures that he faces. Overall, the series offers a more complex picture of Tiberius. He is no longer simply the brutal tyrant persecuting Jews and Christians, but also as a shrewd politician. I would agree with Richards (2008: 163), who suggests that this portrayal of Tiberius is ‘altogether richer and more complex .  .  . than George Baker’s admittedly more vivid but essentially single TV antiquity  35 note Gravesian caricature in I, Claudius’. By giving Tiberius a voice, the show presents ‘an emperor reluctantly

in TV antiquity
Some unexplored avenues and reassessments, with special reference to Sailer
Susan Cooper

his finest Bonn composition. Joseph's averting of bloody revolution, his unpretentious modesty, self-deprecating wit, democratic promotion of equality, 42 and religious toleration clearly attracted Beethoven, whose friendships included people of several different religious persuasions, such as the Protestant Karl Amenda and the Jews Moritz Schlesinger and Ignaz Moscheles. The cantata mentions the stalking monster ‘Fanaticismus’, which Joseph calmed: this probably refers to the monstrous political fanaticism of the

in Manchester Beethoven studies