The phantom Holocaust: Soviet cinema and Jewish catastrophe
Despite the Soviet tendency of silencing the Holocaust, or at least its universalization and externalization in literature and in the arts, the Soviet film industry has produced a number of films dealing with the Holocaust, or at least mentioning it. In the representation of Nazi antisemitism and persecution of Jews, the Soviet cinema was even pioneering: the earliest images of Nazi anti-Jewish policies appeared in Soviet films of the 1930s, e.g. "Professor Mamlock" and "Peat Bog Soldiers", all…
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- Full title :The phantom Holocaust : Soviet cinema and Jewish catastrophe / Olga Gershenson.
Summary
Despite the Soviet tendency of silencing the Holocaust, or at least its universalization and externalization in literature and in the arts, the Soviet film industry has produced a number of films dealing with the Holocaust, or at least mentioning it. In the representation of Nazi antisemitism and persecution of Jews, the Soviet cinema was even pioneering: the earliest images of Nazi anti-Jewish policies appeared in Soviet films of the 1930s, e.g. "Professor Mamlock" and "Peat Bog Soldiers", all of which were banned in 1939, following the Soviet-German pact. Some of the wartime and postwar films, e.g. "Ordinary Fascism" by Milkhail Romm (1965), "Sons of the Fatherland" by Latif Faiziev (1968), and "And the Dawns Are Quiet Here" by Stanislav Rostotskii (1972), became Soviet classics. Some others were taken off screens soon after the premieres, among them the first film showing the Holocaust, "The Unvanquished" by Mark Donskoi (1945), and "Eastern Corridor" by Valentin Vinogradov (1966). Some films were banned immediately after their being produced ("Commissar" by Askoldov, 1967), or their production was stopped after their scripts were perused by the censorship. The artistic careers of many film directors, such as Askoldov and Vinogradov, were ruined. Therefore, the Soviet Holocaust cinema was essentially a phantom cinema. Only during the perestroika, in 1989-91, was "Commissar" shown to the public and Boris Yermolayev's "Our Father", the script of which had been banned in 1966, was filmed. At this time, the first widely circulating films dealing specifically with the Holocaust were screened.
Read More ↓Edition Statements
- Publication Date:©2013
Publication Statements
- Publisher(s):Rutgers University Press
- Place of Publication:New Brunswick, New Jersey
- Language:eng
- Publication Date:©2013
The Physical Object
- Description:x, 275 pages : : illustrations ; : 24 cm.
Edition Identifiers
- ISBN:9780813561813, 0813561817, 9780813561806, 0813561809, 0813561825, 9780813561820
- oclc:ocn819631703
- LC Classification:PN1995.9.H53
- Dewey Decimal:791.43/658405318
Table of Contents
Screening the Holocaust in the Soviet Union: Jews without the Holocaust and the Holocaust without the Jews -- Soviet antifascist films of the 1930s: The earliest images of Nazi anti-semitism and concentration camps on world screens -- The first phantom: I will live! (1942) -- How a Soviet novel turned into a Jewish film: The first depiction of the Holocaust on Soviet screens, The unvanquished (1945) -- The Holocaust on the thawing screen: From The fate of a man (1959) to Ordinary fascism (1965) -- The Holocaust at the Lithuanian Film Studio: Gott mit uns (1961) -- The Holocaust without the Jews: Steps in the night (1962) and other films -- Kalik versus Goskino: Goodbye, boys! (1964/66) -- Stalemate (1965) between the filmmaker and the censors -- Kalik's last phantom: King Matt and the old doctor -- The film that cost a career: Eastern corridor (1966) -- Muslims instead of Musslmans: Sons of the fatherland (1968) -- Commissar (1967/1988): The end of the thaw -- An alternative track: Jewish soldiers fighting on Soviet screens -- The last phantom -- the first film: Our father (1966/1990) -- Perestroika and beyond: Old wine in new bottles? -- Conclusions.
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