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The Holocaust has been the focus of countless films in the United States, Great Britain, and Europe, and its treatment over the years has been the subject of considerable controversy. When finally permitted to portray the atrocities, filmmakers struggled with issues of fidelity to historical fact, depictions of graphic violence, and how to approach the complexities of the human condition on all sides of this horrific event. In Hollywood and the Holocaust , Henry Gonshak explores portrayals of the Holocaust from the World War II era to the present. In chapters devoted to films ranging from The Great Dictator to Inglourious Basterds , this volume looks at how these films have shaped perceptions of the Shoah. The author also questions if Hollywood, given its commercialism, is capable of conveying the Holocaust in ways that do justice to its historical trauma. Through a careful consideration of over twenty-five films across genres-including Life Is Beautiful, Cabaret, The Reader, The Boys from Brazil , and Schindler's List -this book provides an important look at the social, political, and cultural contexts in which these movies were produced. By also engaging with the critical responses to these films and their role in the public's ongoing fascination with the Holocaust, this book suggests that viewers take a closer look at how such films depict this dark period in world history. Hollywood and the Holocaust will be of interest to cultural critics, historians, and anyone interested in the cinema's ability to render these tragic events on screen.

This essay discusses three Holocaust graphic novels: Will Eisner'sA Life Force, Joe Kubert'sYossel: April 19, 1943, and Pascal Croci'sAuschwitz. It considers how effectively each work portrays the Holocaust by comparing them to the best-known and most celebrated Holocaust graphic novel, Art Spiegelman'sMaus: A Survivor's Tale. The essay argues that Eisner's is the most effective of the group, because Eisner recreates a distanced perspective on the Holocaust. In contrast, when Kubert and Croci attempt to recreate the Holocaust itself, the imaginative leap required to envision an atrocity so outside the realm of ordinary human experience overwhelms their artistic powers. The essay also briefly considers the mainstream comics of both Eisner and Kubert as well as Eisner'sThe Plot: The Secret Story of the Protocols of the Elders of Zion. The author concludes that, while these graphic novels have virtues, none of them take the aesthetic and thematic risks found inMaus. In closing, Gonshak argues against the widespread critical view that the Holocaust defies artistic representation.

This essay discusses three Holocaust graphic novels: Will Eisner's A Life Force , Joe Kubert's Yossel: April 19, 1943 , and Pascal Croci's Auschwitz . It considers how effectively each work portrays the Holocaust by comparing them to the best-known and most celebrated Holocaust graphic novel, Art Spiegelman's Maus: A Survivor's Tale . The essay argues that Eisner's is the most effective of the group, because Eisner recreates a distanced perspective on the Holocaust. In contrast, when Kubert and Croci attempt to recreate the Holocaust itself, the imaginative leap required to envision an atrocity so outside the realm of ordinary human experience overwhelms their artistic powers. The essay also briefly considers the mainstream comics of both Eisner and Kubert as well as Eisner's The Plot: The Secret Story of the Protocols of the Elders of Zion . The author concludes that, while these graphic novels have virtues, none of them take the aesthetic and thematic risks found in Maus . In closing, Gonshak argues against the widespread critical view that the Holocaust defies artistic representation.

Lambert had a point; Kramer risked distracting his audience from the movie's higher purpose by peopling it with celebrities, and, indeed, it is nearly impossible to take matinee idols who appear as secondary characters in the movie, such as Montgomery Clift and Judy Garland, seriously in their roles.1 In the role of the presiding justice at the trial, Judge Haywood, a humble, impeccably virtuous small-town American jurist, Kramer cast Spencer Tracy.\\n In the scene which immediately follows Lawson's presentation of his documentation, set in the prison cafeteria, the defendants, furious at Lawson's tactics, are all busily denying that the genocide ever happened, until one of their number, who served with Eichmann, casually acknowledges the truth of what the prosecutor had presented.