A comprehensive filmography, listing fictional narrative films in the first volume and documentary and propaganda films in the second. The films - listed alphabetically - were produced in many different countries. The work lists films made during World War II and after (including Nazi films). Each entry provides bibliographic information, a summary of the story, and a list of primary and secondary sources. Each volume contains a few "spotlight essays". Partial contents:

A comprehensive filmography, listing fictional narrative films in the first volume and documentary and propaganda films in the second. The films - listed alphabetically - were produced in many different countries. The work lists films made during World War II and after (including Nazi films). Each entry provides bibliographic information, a summary of the story, and a list of primary and secondary sources. Each volume contains a few "spotlight essays". Partial contents:

A comprehensive filmography, listing fictional narrative films in the first volume and documentary and propaganda films in the second. The films - listed alphabetically - were produced in many different countries. The work lists films made during World War II and after (including Nazi films). Each entry provides bibliographic information, a summary of the story, and a list of primary and secondary sources. Each volume contains a few "spotlight essays". Partial contents:

In this innovative work of autoethnography, Caroline Picart weaves across letters, diary entries, newspaper articles, and visual art in an attempt to reconcile her personal experience with her professional identity as a philosopher and scientist living in the U.S. In part a dialogue with her past and ancestry-she was raised in the Philippines and educated in England and the United States-and in part a scholarly analysis, Picart asks what it means to be defined as a member of a specific "race," especially as a "foreigner" married to an American, living within multi-cultural America. Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation.

Most Holocaust scholars and survivors contend that the event was so catastrophic and unprecedented that it defies authentic representation in feature films. Yet it is precisely the extremity of 'the Final Solution' and the issues it raised that have fueled the cinematic imagination since the end of World War II. Recognizing that movies reach a greater audience than eyewitness, historical, or literary accounts, Lawrence Baron argues that they mirror changing public perceptions of the Holocaust over time and place. After tracing the evolution of the most commonly employed genres and themes in earlier Holocaust motion pictures, he focuses on how films from the l990s made the Holocaust relevant for contemporary audiences. While genres like biographical films and love stories about doomed Jewish-Gentile couples remained popular, they now cast Jews or non-Jewish victims like homosexuals in lead roles more often than was the case in the past. Baron attributes the recent proliferation of Holocaust comedies and children's movies to the search for more figurative and age-appropriate genres for conveying the significance of the Holocaust to generations born after it happened. He contends that thematic shifts to stories about neo-Nazis, rescuers, survivors, and their children constitute an expression of the continuing impact the Holocaust exerts on the present. The book concludes with a survey of recent films like Nowhere in Africa and The Pianist.

Rather than assuming that film and the media tell us little about the reality of criminological phenomena, "Gothic criminology," as instantiated in this collection of essays, recognizes the complementarity of critical academic and aesthetic accounts of deviant behavior as intersecting with the public policy in complex, non-reductive ways.".

This work includes international secondary literature on anti-Semitism published throughout the world, from the earliest times to the present. It lists books, dissertations, and articles from periodicals and collections from a diverse range of disciplines. Written accounts are included among the recorded titles, as are manifestations of anti-Semitism in the visual arts (e.g. painting, caricatures or film), action taken against Jews and Judaism by discriminating judiciaries, pogroms, massacres and the systematic extermination during the Nazi period. The bibliography also covers works dealing with philo-Semitism or Jewish reactions to anti-Semitism and Jewish self-hate. An informative abstract in English is provided for each entry, and Hebrew titles are provided with English translations.

Holocaust movies have become an important segment of world cinema and the de-facto Holocaust education for many. One quarter of all American-produced Holocaust-related feature films have won or been nominated for at least one Oscar. In fact, from 1945 through 1991, half of all American Holocaust features were nominated. Yet most Holocaust movies have fallen through the cracks and few have been commercially successful. This book explores these trends--and many others--with a comprehensive guide to hundreds of films and made-for-television movies. From Anne Frank to Schindler's List to Jojo Rabbit, more than 400 films are examined from a range of perspectives--historical, chronological, thematic, sociological, geographical and individual. The filmmakers are contextualized, including Charlie Chaplin, Sidney Lumet, Steven Spielberg, Quentin Tarantino and Roman Polanski. Recommendations and reviews of the 50 best Holocaust films are included, along with an educational guide, a detailed listing of all films covered and a four-part index-glossary.

This collection provides readers with a comprehensive overview of postwar representations of Nazism in popular culture, documenting and critiquing their enormous impact and importance. From Charlie Chaplin's The Great Dictator to the depiction of Nazis in the Raiders of the Lost Ark to other various literature, comic books, video games, television programs, and pop music, Nazism has maintained a constant presence in popular culture after World War II. Why are representations of Nazism—which are often used to depict the ultimate expression of human evil—so entrenched in our culture? Each chapter in this book examines this multifaceted topic from different angles, highlighting the different incidences of Nazistic representations in the post-1945 period. The diverse subject matter in this text ranges from analysis of recent allo-historical novels, to the music of the "neo-folk" movement, to fetishes and pornography. Readers will gain insight on how the imagery and symbology of Nazism in popular culture has changed over time and understand how the disconnect between representations of Nazism and the historical record have developed, particularly with regard to the genocide that resulted from Nazi politics.