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Journal articles on the topic 'Schindlers List'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Díaz-Cuesta Galián, José. "Man as Rescuer and Monster in Steven Spielberg's Film Text "Schindler's List"." Journal of English Studies 5 (May 29, 2008): 63. http://dx.doi.org/10.18172/jes.121.

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This journal article addresses the confrontation between two extreme representations of man in Steven Spielberg’s Schindler’s List (1993): the rescuer and the monster. It is my contention that these representations simplify two of the moral options –good versus evil– from which men can freely choose according to both Judaism and Catholicism, which are the two religious cults the film alludes to. This article has a three-fold structure. The first part focuses on the godlike representation of Oskar Schindler2 and his relation to key episodes in the Bible. The second one deals with Amon Goeth, Schindler’s mirror image and the incarnation of evil in the film. The third part surveys Spielberg’s blending of religious traditions in some films prior to Schindler’s List. As a conclusion it is proposed that the godlike man who rescues his people is not only Oskar Schindler, but also Steven Spielberg.

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2

Shola Fernando, C. "Microhistoricism in Schindler’s List." HuSS: International Journal of Research in Humanities and Social Sciences 3, no. 2 (2016): 59. http://dx.doi.org/10.15613/hijrh/2016/v3i2/136506.

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3

Farrell, Kirby. "The Economies of Schindler's List." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 52, no. 1 (1996): 163–88. http://dx.doi.org/10.1353/arq.1996.0008.

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4

Shandler, Jeffrey. "Holocaust Survivors on Schindler’s List." American Literature 85, no. 4 (2013): 813–14. http://dx.doi.org/10.1215/00029831-2367283.

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5

Nagorski, Andrew. "'Schindler's List' and the Polish Question." Foreign Affairs 73, no. 4 (1994): 152. http://dx.doi.org/10.2307/20046751.

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6

Eley, Geoff, and Atina Grossmann. "Watching Schindler's List: Not the Last Word." New German Critique, no. 71 (1997): 41. http://dx.doi.org/10.2307/488558.

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7

Arva, Eugene. "Disciplinary Power and Testimonial Narrative in Schindler's List." Film and Philosophy 8 (2004): 51–62. http://dx.doi.org/10.5840/filmphil200486.

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8

Gellately, Robert. "Betweem Exploitation, Rescue, and Annihilation: Reviewing Schindler's List." Central European History 26, no. 4 (1993): 475–89. http://dx.doi.org/10.1017/s0008938900009419.

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9

Fogel, Daniel Mark. "‘Schindler's List’ in novel and film: exponential conversion." Historical Journal of Film, Radio and Television 14, no. 3 (1994): 315–20. http://dx.doi.org/10.1080/01439689400260221.

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10

Manchel, Frank. "Mishegoss: ‘Schindler's List’, Holocaust representation and film history." Historical Journal of Film, Radio and Television 18, no. 3 (1998): 431–36. http://dx.doi.org/10.1080/01439689800260271.

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11

Jeremy Maron. "Affective Historiography: Schindler's List, Melodrama and Historical Representation." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 4 (2009): 66–94. http://dx.doi.org/10.1353/sho.0.0422.

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12

Ott, Brian. "Memorializing the Holocaust: Schindler's List and Public Memory." Review of Education, Pedagogy, and Cultural Studies 18, no. 4 (1996): 443–57. http://dx.doi.org/10.1080/1071441960180409.

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13

Windsor, Donald A. "The Endangered Species Act Is Analogous to Schindler’s List." Conservation Biology 12, no. 2 (2008): 485–86. http://dx.doi.org/10.1111/j.1523-1739.1998.97110.x.

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14

Greenberg, Harvey. ": Spielberg's Holocaust: Critical Perspectives on "Schindler's List" . Yosefa Loshitzky." Film Quarterly 51, no. 4 (1998): 58–60. http://dx.doi.org/10.1525/fq.1998.51.4.04a00210.

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15

White, Timothy R., and J. Emmett Winn. "Schindler's List in Malaysia: Anti-Semitism or National Politics?" Asian Cinema 9, no. 1 (1997): 18–33. http://dx.doi.org/10.1386/ac.9.1.18_1.

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16

Windsor, Donald A. "The Endangered Species Act Is Analogous to Schindler's List." Conservation Biology 12, no. 2 (1998): 485–86. http://dx.doi.org/10.1046/j.1523-1739.1998.97110.x.

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17

Marks, Clifford J., and Robert Torry. ""Herr Direktor": Biography and Autobiography in Schindler's List." Biography 23, no. 1 (2000): 49–70. http://dx.doi.org/10.1353/bio.1999.0017.

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18

Desser, David. "Spielberg's Holocaust: Critical Perspectives on Schindler's List (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 18, no. 3 (2000): 164–66. http://dx.doi.org/10.1353/sho.2000.0081.

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19

Berglind, Natalie. "My Survival: A Girl on Schindler's List by Rena Finder." Bulletin of the Center for Children's Books 73, no. 4 (2019): 165. http://dx.doi.org/10.1353/bcc.2019.0816.

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20

Hayden, Robert M. "Schindler's Fate: Genocide, Ethnic Cleansing, and Population Transfers." Slavic Review 55, no. 4 (1996): 727–48. http://dx.doi.org/10.2307/2501233.

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In 1993, the film Schindler's List provided what many commentators took to be simile and many others metaphor for the violence in Bosnia. The cinematic version of Thomas Keneally's 1982 book on the holocaust of the Jews of Cracow seemed to emblematize the horror of the "ethnic cleansing" of Muslims from northern and eastern Bosnia in the summer of 1992 and thereafter, complete with wretched people in cattle cars and "concentration camps" with starving prisoners.

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21

Niven, William J. "The reception of Steven Spielberg's Schindler's List in the German media." Journal of European Studies 25, no. 2 (1995): 165–89. http://dx.doi.org/10.1177/004724419502500204.

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22

Greenberg, Harvey. "Review: Spielberg's Holocaust: Critical Perspectives on "Schindler's List" by Yosefa Loshitzky." Film Quarterly 51, no. 4 (1998): 58–60. http://dx.doi.org/10.2307/1213258.

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23

Chowdhury, Shib Shankar. "STRESS, TRAUMA, PSYCHOLOGICAL PROBLEMS, QUALITY OF LIFE, AND RESILIENCE OF WOMEN AS REFLECTED IN VARIOUS MOVIES AROUND THE WORLD." International Journal of Engineering Technologies and Management Research 5, no. 4 (2020): 1–6. http://dx.doi.org/10.29121/ijetmr.v5.i4.2018.202.

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The aim of the study was to investigate the relationships between stressor due to restriction of women movement, traumatic events due to war, sexual abuse or domestic harassment and psychological symptoms, quality of life, and resilience. To explore the topic I analyzed samples consisted of 16 randomly selected subjects from sixteen various movies - Deliver Us From Evil, Forbidden Games, Metamorphosis, Monster, Pan’s Labyrinth, The Cemetery Club, Schindler’s List, The Cemetery Club, The Magdalene, The White Ribbon, Two Women, Taken, Empty Suitcase, Damini- Lightning, Dahan (Crossfire) and Ghajini.

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24

Manchel, Frank. "A Reel Witness: Steven Spielberg's Representation of the Holocaust in Schindler's List." Journal of Modern History 67, no. 1 (1995): 83–100. http://dx.doi.org/10.1086/245018.

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25

Beebe, John. "At the Movies Schindler's List Directed by Steven Spielberg . Screenplay by Steven Zaillian ." San Francisco Jung Institute Library Journal 12, no. 4 (1994): 79–80. http://dx.doi.org/10.1525/jung.1.1994.12.4.79.

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26

Wildt, M. "History at large: The invented and the real: historiographical notes on Schindler's List." History Workshop Journal 41, no. 1 (1996): 240–49. http://dx.doi.org/10.1093/hwj/1996.41.240.

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27

Ruth Schwertfeger. "The Road to Rescue: The Untold Story of Schindler's List (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 28, no. 2 (2010): 186–88. http://dx.doi.org/10.1353/sho.0.0434.

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28

Hansen, Miriam Bratu. ""Schindler's List" Is Not "Shoah": The Second Commandment, Popular Modernism, and Public Memory." Critical Inquiry 22, no. 2 (1996): 292–312. http://dx.doi.org/10.1086/448792.

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29

Karski, Kamil, and Dawid Kobiałka. "Archaeology in the Shadow of Schindler’s List: Discovering the Materiality of Plaszow Camp." Journal of Contemporary Archaeology 8, no. 1 (2021): 89–111. http://dx.doi.org/10.1558/jca.43381.

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30

Szczypa. "New Article: 3Heroes and the Monstrous Event of the Holocaust in Schindler’s List and Korczak." Polish Review 60, no. 1 (2015): 23. http://dx.doi.org/10.5406/polishreview.60.1.0023.

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31

Nunn, Nora. "Rose-Colored Genocide: Hollywood, Harmonizing Narratives, and the Cinematic Legacy of Anne Frank’s Diary in the United States." Genocide Studies and Prevention 14, no. 2 (2020): 65–89. http://dx.doi.org/10.5038/1911-9933.14.2.1715.

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Drawing from literary and cultural studies, this paper situates U.S. adaptations of Anne Frank’s diary in the 1950s within a lineage of other films about historical genocide, including Schindler’s List, Hotel Rwanda, and The Killing Fields. Analysis of these narrative adaptations matters because it helps us better understand the danger of what critic Dominick LaCapra calls “harmonizing narratives,” or stories that provide the viewer with an “unwarranted sense of spiritual uplift” (14). Tracing the metamorphosis of Frank’s own diary from play to film adaptation, this article builds on existing scholarship to focus on how, in the wake of what has become known as the Holocaust, Hollywood began to construct popular and simplified understandings of complex genocidal crimes—all in the name of celebrating globalized humanity. In the first part of the article, I take a longer view of these adaptations by situating U.S. interpretations of Frank’s diary within a lineage of other Hollywood versions of historical genocide, including The Killing Fields, Schindler’s List, and Hotel Rwanda. I argue that in making Anne Frank’s story morally simplifying and ultimately uplifting for U.S. audiences—in other words, shaping it into what critic Dominick LaCapra calls a “harmonizing narrative”—these Broadway and Hollywood adaptations privileged rose-colored narratology for that would influence future mainstream cinematic representations in dangerous ways. The second part of the paper then considers cinematic alternatives from outside of Hollywood (such as Canada, Rwanda, and Spain) that challenge these harmonizing narratives by enlisting a mise en abyme structure—in other words, the nesting of stories within stories—that ultimately suggest the full representation of genocide is impossible. By making false promises of harmony, Hollywood’s interpretation of Frank’s story has, in turn, limited our understanding of subsequent genocides. On the other hand, alternative modes of cinematic storytelling—most notably, ones such as Ararat that fracture a coherent narrative—compel the audience to grapple with questions of spectatorship, agency, and above all, the problems of representation.

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32

Díaz-Cuesta, José. "Masculinidades en Raiders of the Lost Ark (Spielberg 1981)." Revista de Ciencias de la Comunicación e Información 13 (April 26, 2021): 26–53. http://dx.doi.org/10.35742/rcci.2008.13(0).26-53.

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La obra de Steven Spielberg está comenzando a gozar de reconocimiento académico en España. David Caldevilla Domínguez publica en este año 2005, fruto de su tesis doctoral, El sello Spielberg, localizando los estilemas del director apoyándose en la de momento trilogía de Indiana Jones. Precede a esta obra la versión divulgativa de otra tesis doctoral, realizada por Antonio Sánchez-Escalonilla (1994), publicada en 1995 y extendida en 2004.Fuera de España cabe también destacar la compilación de Yosefa Loshitzky (1997) centrada en Schindler’s List (Spielberg 1993), y la de Charles Silet (2002), que abarca diversas obras del director.Pero ninguno de los autores mencionados cifra en la representación de masculinidades la cuestión de sus investigaciones, hueco que nos proponemos rellenar, en lo que atañe a Raiders of the Lost Ark (Spielberg 1981a), en este artículo.

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33

Schmidt, Garry. "Spirituality and Justice in Schindler's LIST: A Case Study Informed by Karl Barth and Gustav Gutierrez." Pastoral Psychology 54, no. 3 (2006): 257–73. http://dx.doi.org/10.1007/s11089-006-6326-7.

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34

Sharrad, Paul. "Interpodes: Poland, Tom Keneally and Australian Literary History." Text Matters, no. 2 (December 4, 2012): 169–79. http://dx.doi.org/10.2478/v10231-012-0062-7.

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This article is framed by a wider interest in how literary careers are made: what mechanisms other than the personal/biographical and the text-centred evaluations of scholars influence a writer’s choices in persisting in building a succession of works that are both varied and yet form a consistently recognizable “brand.” Translation is one element in the wider network of “machinery” that makes modern literary publishing. It is a marker of success that might well keep authors going despite lack of sales or negative reviews at home. Translation rights can provide useful supplementary funds to sustain a writer’s output. Access to new markets overseas might also inspire interest in countries and topics other than their usual focus or the demands of their home market. The Australian novelist and playwright Thomas Keneally achieved a critical regard for fictions of Australian history within a nationalist cultural resurgence, but to make a living as a writer he had to keep one eye on overseas markets as well. While his work on European topics has not always been celebrated at home, he has continued to write about them and to find readers in languages other than English. Poland features in a number of Keneally’s books and is one of the leading sources of translation for his work. The article explores possible causes and effects around this fact, and surveys some reader responses from Poland. It notes the connections that Keneally’s Catholic background and activist sympathies allow to modern Polish history and assesses the central place of his Booker-winning Schindler’s Ark filmed as Schindler’s List.

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35

Dennis Hanlon. "Does Anyone Have the Right to Say, “I Don’t Care”?: Resistance and Reverence at Schindler’s List." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 53–65. http://dx.doi.org/10.1353/flm.0.0065.

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36

Krämer, Peter. "‘He's very good at worknotinvolving little creatures, you know’:Schindler's List,E.T., and the shape of Steven Spielberg's career." New Review of Film and Television Studies 7, no. 1 (2009): 23–32. http://dx.doi.org/10.1080/17400300802602874.

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37

Dickson, David. "From Lanzmann’s Circle of Flames to Bodies in Pain: Anglo-American Holocaust Fiction and Representations of the Gas Chamber." Genealogy 4, no. 3 (2020): 88. http://dx.doi.org/10.3390/genealogy4030088.

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This article discusses the apparent desire in Anglo-American Holocaust fiction to form a deeper connection to the horror of the Holocaust by recreating scenes of suffering in the gas chamber. Using Elaine Scarry’s The Body in Pain, Alison Landsberg’s theory of ‘prosthetic memory’ and the concept of ‘feeling-with’ as outlined by Sonia Kruks, it discusses the motives underlying these representations and what an audience stands to learn from these bodily encounters with the Holocaust past. The article begins by discussing texts that explore the notions of temporal and emotional distance and the unreachability of the Holocaust dead, while also reflecting the corresponding impulse to reconnect with the murdered by physicalising them as bodies in pain. It then moves on to works that aim to make the experience of death in the gas chamber literally inhabitable for present-day nonwitnesses. In pursuing this argument, the article focuses on six representative texts: Steven Spielberg’s Schindler’s List (1993), Bryan Singer’s Apt Pupil (1998), Tim Blake Nelson’s The Grey Zone (2001), The Boy in the Striped Pyjamas (2006 and 2008, for the book and film respectively), In Paradise (2014) by Peter Matthiessen and Mick Jackson’s Denial (2016).

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38

Thérien, Gilles. "La critique et la disparition de son objet." Cinémas 6, no. 2-3 (2011): 141–63. http://dx.doi.org/10.7202/1000977ar.

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La critique cinématographique a fort à faire lorsqu’il lui faut parler du cinéma actuel. Au plan de la technique, on ne produit plus de mauvais films et l’objet-film a une tendance à devenir neutre au plan esthétique. Il doit s’adapter à trop de normes, à trop de médias de diffusion. Il ne reste plus que l’histoire, le récit qu’il faut critiquer sans le dévoiler. Les grandes maisons de production accompagnent leur diffusion de dossiers étoffés sur les films qui fournissent à la critique tout ce qu’il faut savoir sur le produit sans avoir à faire de recherche. La critique publique est condamnée à l’inefficacité et elle doit chercher du côté de la critique spécialisée, universitaire ou non, un complément de savoir. Or, même la critique universitaire est obnubilée par les procédés narratifs. Aussi faut-il consentir un effort particulier pour redonner à la critique un rôle, une fonction à l’endroit du cinéma. La question est discutée à travers l’analyse d’un cas particulier, mais exemplaire, Schindler’s List de Steven Spielberg. C’est à travers une forme de variation critique que ce film peut éveiller chez le critique et le spectateur un jugement qui va au-delà de l’histoire racontée. Il y retrouve alors un film inquiétant, étrange malgré les prix et les distinctions dont il a été inondé.

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39

Gomori, George. "Book Reviews : Polish Studies Shtetl. The Life and Death of a Small Town and the World of Polish Jews. By Eva Hoffman. London: Secker and Warburg, 1998. Pp. 269. £16.99. A Girl from Schindler's List. By Stella Müller-Madej. Tr. by William R. Brand. London: Polish Cultural Foundation, 1997. Pp. 278 and Photographs." Journal of European Studies 28, no. 3 (1998): 318–21. http://dx.doi.org/10.1177/004724419802800311.

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40

Stier. "REVIEW: HOLOCAUST, AMERICAN STYLE: Alan L. Berger. CHILDREN OF JOB: AMERICAN SECOND-GENERATION WITNESSES TO THE HOLOCAUST. and Lawrence L. Langer. PREEMPTING THE HOLOCAUST. and S. Lillian Kremer. WOMEN's HOLOCAUST WRITING: MEMORY AND IMAGINATION. and Hilene Flanzbaum, ED. THE AMERICANIZATION OF THE HOLOCAUST. and Jeffrey Shandler. WHILE AMERICA WATCHES: TELEVISING THE HOLOCAUST. and Yosefa Loshitzky, ED. SPIELBERG'S HOLOCAUST: CRITICAL PERSPECTIVES ON SCHINDLER'S LIST. and Norman Finkelstein. THE HOLOCAUST INDUSTRY: REFLECTIONS ON THE EXPLOITATION OF JEWISH SUFFERING." Prooftexts 22, no. 3 (2002): 354. http://dx.doi.org/10.2979/pft.2002.22.3.354.

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41

Cross, Kathleen Hutchison. "Comparing Film Language Amongst Genres: A Comparative Analysis of Schindler's List, In Darkness and The Last Days." Mount Royal Undergraduate Humanities Review (MRUHR) 2 (December 22, 2014). http://dx.doi.org/10.29173/mruhr91.

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The purpose of this paper is to provide a comparative analysis of the film language and genre conventions used in three Holocaust films, Schindler's List, In Darkness and The Last Days. Each of these films provide the perspective of a unique genre on real historical people and events that took place during the Holocaust. Schindler's List is a biopic film that follows the true story of Oskar Schindler, a wealthy German businessman who managed to save the lives of more than 1,000 Jews by keeping them employed in his factory during the Holocaust. In Darkness is a Polish-made drama film which profiles Leopold Socha and the 10 Jews he managed to save by helping them to hide in the sewers during the Holocaust. The men profiled in both movies were declared Righteous Among Nations for their heroic real life actions. The final film, The Last Days is a documentary, which profiles the stories of survival of five Hungarian-Jews during the Holocaust. Through the use of film language, Schindler's List, In Darkness and The Last Days are all able to effectively communicate key themes and ideas present during the Holocaust. Symbolism is used in each of these films in the areas of colour and light. This symbolism, most heavily present in Schindler's List, seems to depict the lack of light, or lack of hope during the Holocaust. Another theme present in the films is the stark inequality between Germans, common people and Jews. This inequality is particularly relevant to both Schindler's List and The Last Days. All three films effectively capture the emotion of their audiences by making them feel as if they are actually experiencing the Holocaust through the use of both camera movement and real footage. A final important idea surrounding this Holocaust that can be taken away from each of these films is the brutality of German soldiers. Overall, the analysis of these three films provides a powerful and personalized insight into the Holocaust.

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42

Shandler, Jeffrey. "Survivors on Schindler’s List." American Literature, 2013. http://dx.doi.org/10.1215/00029831-2370212.

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43

"Spielberg's Holocaust: critical perspectives on Schindler's list." Choice Reviews Online 35, no. 05 (1998): 35–2617. http://dx.doi.org/10.5860/choice.35-2617.

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44

"Revisiting schindler and schlinder's list: A group therapist's perspective." Group 19, no. 3 (1995): 183–88. http://dx.doi.org/10.1007/bf01458302.

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45

Steinmetz, John (Jay). "Schindler's List, Inglourious Basterds, and the Problem of Evil in American Cinema." SSRN Electronic Journal, 2011. http://dx.doi.org/10.2139/ssrn.1803986.

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46

"Analisis Kekuatan Tali Baja Pada Lift Schindler Kapasitas 1600 Kg." Jurnal Teknologi Kedirgantaraan 5, no. 1 (2016). http://dx.doi.org/10.35894/jtk.v5i1.428.

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47

Heuer, Wolfgang. "Ways of Narrating Memory: Hannah Arendt’s "Eichmann in Jerusalem" and Steven Spielberg’s "Schindler’s List" / Formas de narração da memória: “Eichmann em Israel”, de Hannah Arendt e “A Lista de Schindler”, de Steven Spielberg." Revista Direito e Práxis 3, no. 4 (2012). http://dx.doi.org/10.12957/dep.2012.3545.

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48

Berner, Elias. "‘Remember me, but forget my fate’ – The use of music in Schindler’s List and In Darkness." Holocaust Studies, August 9, 2019, 1–15. http://dx.doi.org/10.1080/17504902.2019.1637490.

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49

"Mass flow controlled partial flow dilution systems ? A pratical alternative to transient full-flow CVS dilution tunnels W. Schindler, K. Engeljehringer, W. Singer (AVL List GmbH, Graz)." JSAE Review 17, no. 4 (1996): 452. http://dx.doi.org/10.1016/s0389-4304(96)80661-8.

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50

"Tango of Slaves. Produced and directed by Ilan Ziv. 1994 (U.S. release); color; 111 minutes. English, Hebrew, Yiddish, Polish, and German (with English subtitles). Video distributor: Tamuz Media (212) 864-7603, Korczac. Produced by Regina Ziegler, Janusz Morgenstern, and Danielle Toscan DuPlantier; directed by Andrzej Wajda. 1990; black and white; 113 minutes. Polish with English subtitles. Distributor: New Yorker Films, 16 W. 61st St., New York, N.Y. 10023 (212) 247-6110 and Schindler's List. Produced by Steven Spielberg, Gerald R. Molen, and Branko Lustig; directed by Steven Spielberg. 1993; color and black & white; 185 minutes. Film distributor: Universal Studios (818) 777-1293; video distributor: MeA Home Entertainment (818) 777-4300." American Historical Review, October 1994. http://dx.doi.org/10.1086/ahr/99.4.1244.

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