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Films Referencing The Holocaust

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The Holocaust was not a known quantity in the years when America was intent on fighting World War II. After the war, knowledge of the Holocaust would increase, beginning with the terrible pictures sent around the world as the Allies liberated the prison camps and discovered what had been taking place in them. References to these events then made their way into a number of post-war films, among them Crossfire, Gentleman's Agreement, and The Stranger. During the years of the war itself, though, anti-Semitism was barely a subject at all in Hollywood films in spite of the fact that Hollywood was known as a "Jewish" industry because of the number of studio heads and producers who were Jewish.

Judith E. Doneson wants to call the films reflecting anti-Semitism around this time Holocaust films and offers a definition for such works:

Let us say, simply, that this includes any films that reflect what historian Raul Hillberg describes as a step-by-step historical process, beginning with the laws of April 1933, which removed Jews from the civil services in Germany, and ending in 1945, when the last concentration camps were liberated and the war ended. This includes the gradual evolution to destruction, as well as the destruction itself, which culminated in the death of six million Jews (Doneson 8).

By this definition, the set of Holocaust films includes those made capturing the earliest persecutions of the Jews in Germany as well as those influenced by the Holocaust. This is a broad

. . .
e great banking houses of Europe. The second section of the film presents the Rothschilds once they are a dynasty controlled by Nathan in London, helping Europe defeat Napoleon and so proving their value to society--and perhaps by extension the value of the Jews. While the film is set in the late eighteenth and early nineteenth centuries, the film manages to combine antipathy with concern for the contemporary Jew along with a warning about the serious threat facing the Jews in Europe. Money is the central theme of the film and the major interest of the Rothschilds, and so the persistent image is the Jew as Shylock, a negative portrayal. The film also manages to evoke the concept of the international Jewish conspiracy: It is evoked when a dying Mayer offers his parting wisdom to his children, advising them to open banking houses in the major European capitals but to remain loyal, above all, to each other as one family (Doneson 21). The film thus manages to come down on both sides of the general issue of how Jews are to be viewed at one and the same time--the negative and fearful images are evoked along with a certain sympathy and concern. This duality often affects the depictions of Jews in this era. A second film suggested b
. . .

Some common words found in the essay are:
House Rothschild, Gentleman's Agreement, Charlie Chaplin, Germany Jewish, Jew Shylock, Jew Doneson, Jewish American, Jews Doneson, Nathan London, Raul Hillberg, house rothschild, gentleman's agreement, american film, jews europe, film manages, anti-semitism house rothschild, jewish barber, respect americans, image jew, answer question, facing jews,
Approximate Word count = 1811
Approximate Pages = 7 (250 words per page)

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