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Keywords Terrence Malick, Franz Jägerstätter, Second World War, Nazi Germany, Resistance Terrence Malick's film A Hidden Life (2019) tells the true story of the Austrian farmer Franz Jägerstätter and his family as he was called up by the Nazi regime in the Second World War to serve its war aims. Robert Sinnerbrink has identified six key elements in Malick's style: a minimalist approach to the presentation of character; a focus on the location in which the story takes place; the integral use of voice over, Which often does not correspond to what is depicted on the screen; the organization of the narrative into \"episodic sequences\" based on motifs; the reliance on camera work that conveys a sense of \"animated witnessing,\" that of a disembodied presence following the narrative; and the concern to emphasize the \"\"elemental' presentation of earth, sky and fire.\" The great conundrum of the film for modern audiences may well be, \"Why was Jägerstätter different from everybody else?\" Why did he refuse do his duty as everyone reminded him-to his town, his country, his family, and his race, in contrast to almost all the other men his age? Among the best are Rosenstrafse (2003), which tells the story of how \"Aryan\" wives of Jewish men successfully protested in the streets the arrests of their husbands, ensuring their release; Sophie Scholl: The Final Days (2005), a film that focuses on the arrest, trial, and execution of a leader of the White Rose student group based in the University of Munich, which distributed leaflets condemning the Nazi regime during the Second World War; Valkyrie (2008), which portrays the resistance activities of Colonel Claus Schenk von Stauffenberg as he conspires with military leaders to assassinate Adolf Hitler in the failed bomb plot of 20 July 1944; and Alone in Berlin (2016), a film that shows how a middle-aged couple who lost their son in the war resisted the Nazi regime by writing oppositional messages on small cards and leaving them in random places for strangers to find and read.· Each of these films is based on historical events and real people who actively resisted the Nazi regime.

\"A detailed and moving picture of how the Habsburgs suffered under the Nazi regime…scrupulously sourced, well-written, and accessible.\"— Publishers Weekly (starred review)   It was during five youthful years in Vienna that Adolf Hitler's obsession with the Habsburg Imperial family became the catalyst for his vendetta against a vanished empire, a dead archduke, and his royal orphans. That hatred drove Hitler's rise to power and led directly to the tragedy of the Second World War and the Holocaust. The royal orphans of Archduke Franz Ferdinand—offspring of an upstairs-downstairs marriage that scandalized the tradition-bound Habsburg Empire—came to personify to Adolf Hitler, and others, all that was wrong about modernity, the twentieth century, and the Habsburgs' multi-ethnic, multi-cultural Austro-Hungarian Empire. They were outsiders in the greatest family of royal insiders in Europe, which put them on a collision course with Adolf Hitler. As he rose to power Hitler's hatred toward the Habsburgs and their diverse empire fixated on Franz Ferdinand's sons, who became outspoken critics and opponents of the Nazi party and its racist ideology. When Germany seized Austria in 1938, they were the first two Austrians arrested by the Gestapo, deported to Germany, and sent to Dachau. Within hours they went from palace to prison. The women in the family, including the Archduke's only daughter, Princess Sophie Hohenberg, declared their own war on Hitler. Their tenacity and personal courage in the face of betrayal, treachery, torture, and starvation sustained the family during the war and in the traumatic years that followed. Through a decade of research and interviews with the descendants of the Habsburgs, scholar James Longo explores the roots of Hitler's determination to destroy the family of the dead Archduke—and uncovers the family members' courageous fight against the Führer.

This thesis explores the themes of gender and sexuality in contemporary US graphic memoirs. I argue for the exceptionalism of the graphic narrative form for portraying this subject matter through the powerful combination of the visual and the verbal. Using life writing, gender theory, queer theory, and comics theory, my interdisciplinary approach explores the recent outpouring of graphic memoir, and its capability of conveying emotional truth. I identify a gap in research concerning a canon of queer comics, predominantly contributed to by women and non-binary artists that have traditionally been marginalised.Chapter 1 examines the formal elements of Phoebe Gloeckner’s The Diary of a Teenage Girl,contributing to existing discourse surrounding its ambiguous genre. I consider what Gloeckner’s illustrations add to her diary entries from her adolescence by introducing key concepts and vocabulary from comics and life writing forms. Chapter 2 compares Maggie Thrash’s Honor Girland Tillie Walden’s Spinningin their treatment of emotional truth, and the structures of the homosocial and the closet. I analyse how both writers are outed by an authority figure during their adolescence in the American South, and how they reclaim the agency over sexual identity. Chapter 3 explores how Maia Kobabe’s Gender Queerportrays coming out as non-binary and asexual. I observe how Kobabe challenges gender binaries, pronoun use, and what is considered ‘natural’ by society through eir use of images of the natural world.