Publizistische Kontroversen über den Holocaust im Film.

Thiele, Martina

dc.contributor.advisor	Aufermann, Jörg Prof. Dr.	de
dc.contributor.author	Thiele, Martina	de
dc.date.accessioned	2013-01-31T07:54:12Z	de
dc.date.available	2013-01-31T07:54:12Z	de
dc.date.issued	2001-05-09	de
dc.identifier.uri	http://hdl.handle.net/11858/00-1735-0000-000D-F211-4	de
dc.identifier.uri	http://dx.doi.org/10.53846/goediss-3583
dc.format.mimetype	ContentType:application/pdf Size:9078	de
dc.language.iso	ger	de
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/3.0/	de
dc.title	Publizistische Kontroversen über den Holocaust im Film.	de
dc.type	doctoralThesis	de
dc.title.translated	Holocaust and Film. Journalistic controversies in Germany.	en
dc.contributor.referee	Koschwitz, Hans-Jürgen Prof. Dr. Dr.	de
dc.date.examination	2000-10-23	de
dc.subject.dnb	6 Publizistik	de
dc.subject.gok	B Publizistik	de
dc.description.abstracteng	After the transmission of the US-American series Holocaust in 1979 there was talk of a "caesura in the Germans dealing with their National Socialism". But the series Holocaust (Marvin Chomsky, USA 1978) does not represent the only attempt to show the German crime committed against the Jews. Before and after the Holocaust-series came a large number of more or less successful German and international films and TV-productions, for example Morituri (Artur Brauner/Eugen York, Germany 1948), Night and Fog (Alain Resnais, France 1955), Mein Kampf (Erwin Leiser, Sveden 1960), Naked among wolfes (Frank Beyer, GDR 1963), Only one day (Egon Monk/Gunther R. Lys, FRG 1965), The Process (Eberhard Fechner, FRG 1984), Shoah (Claude Lanzmann, France 1985) and last but not least Schindler's list (Steven Spielberg, USA 1993). These films were vehemently discussed in the german press. The subject of this study are the structures and functions of the journalistic controversies which were caused by the films. The question is focused on the extend to which the Germans in East and West are willing to be confronted with their history and the role of the mass media as a mediator of historic consciousness. Siegfried Kracauer believes that a nations cinema reflects its mentality. If this is the case is it possible to discuss the National Socialism and Holocaust dialogue in terms of phases it has gone through since 1945? Or is it legitimate to dismiss the controversies, which were caused by the Holocaust-films as media hype and "shoah business"? This would insinuate that the films did not have any effect except for a short-term shock-effect. The above mentioned films differ immensely in terms of their conditions under which they were made and the resonance they evoked. But this discourse-analytic study of the journalistic controversies shows, that the arguments for and against Holocaust-films have remained practically unchanged in the past 50 years.	de
dc.contributor.coReferee	Lösche, Peter Prof. Dr.	de
dc.subject.topic	mathematics and natural science	de
dc.subject.eng	Holocaust	de
dc.subject.eng	Shoah	de
dc.subject.eng	film	de
dc.subject.eng	representation	de
dc.subject.eng	debates	de
dc.subject.eng	controversies	de
dc.subject.eng	Morituri	de
dc.subject.eng	Night and Fog	de
dc.subject.eng	Mein Kampf	de
dc.subject.eng	Naked among Wolfes	de
dc.subject.eng	Only one day	de
dc.subject.eng	Holocaust	de
dc.subject.eng	The Process	de
dc.subject.eng	Shoah	de
dc.subject.eng	Schindler's List	de
dc.subject.bk	05 Kommunikationswissenschaft	de
dc.subject.bk	024 Film	de
dc.identifier.urn	urn:nbn:de:gbv:7-webdoc-1089-7	de
dc.identifier.purl	webdoc-1089	de
dc.identifier.ppn	33243639X

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