National Socialism and Film
GERM 132 / FSEM 132
Professor Martin Blumenthal-Barby
Summary
This course explores films made in Nazi Germany as well as film about Nazi Germany and the corresponding crisis of justice in the middle of the twentieth century. We will analyze cinematic responses to the rise of the fascist movement, World War II, the Holocaust, and the post-war years. Particular attention will be paid to the value of film as a propagandistic tool, ways in which it can configure and contest our image of national identity, and the relation between mass manipulation and mass murder. We will discuss creative responses that testify to catastrophe while exhibiting its inherent limits of representation. Film, it will be demonstrated, does not only reflect, but it also recalls, commemorates and shapes moments of historical rupture.
Syllabus
Week 1: Introduction: The Politics of Sports—"Festival of Nations" Film: Leni Riefenstahl,
Olympia (1938)
Gilles Deleuze, from
The Movement-Image, selections (handout)
Week 2: "Remasking Hitler": The Comedy of TragedyFilm: Charlie Chaplin,
The Great Dictator (1940)
Henri Bergson, "Laughter," 61-83 (handout)
Sigmund Freud, "The Motives of Jokes—Jokes as Social Process" (handout)
Slavoj Zizek, "Hitler as Ironist?" (handout)
Week 3: "From Caligari to Hitler"Film: Karl Grüne,
The Street (1923)
Siegfried Kracauer, "From Rebellion to Submission," 119-23 (Reader)
Walter Benjamin, "Prostitution, Gambling", convolute O,
Arcades Project, 489-515 (Reader)
Week 4: "Fatal Attraction"Film: Leni Riefenstahl,
The Blue Light (1932)
Siegfried Kracauer, "The Pre-Hilter Period," 258-9 (Reader)
Bela Balazs,
Theory of Film, selections (Reader)
Week 5: "Aryan" BeautyFilm: Hans Steinhoff,
Hitler Youth Quex (1933)
Herbert Marcuse, "The Struggle against Liberalism in the Totalitarian View of the State" (Reader)
Week 6: The Aesthetics of FascismFilm: Leni Riefenstahl,
Triumph of the Will (1934)
Max Horkheimer and Theodor W. Adorno, "The Culture Industry: Enlightenment and Mass Deception" (Reader)
Week 7: The Politics of Sport II: "Festival of Beauty"Film: Leni Riefenstahl,
Olympia II (1938)
Susan Sontag, "Fascinating Fascism" (Reader)
Week 8: Mapping the OtherFilm: Veit Harlan,
Jew Süss (1940)
Hannah Arendt, "Totalitarian Propaganda" (Reader)
Joseph Goebbels, "Why Are We Enemies of the Jews?" (Reader)
Week 9: Limits of RepresentationFilm: Alain Resnais,
Night and Fog (1955)
Primo Levi,
Survival in AuschwitzPaul Celan, "Death Fugue" (handout)
Week 10: The Nuremberg TrialsFilm: Stanley Kramer and Abby Mann,
Judgment at NurembergAbby Mann,
Judgment at Nuremberg, script (Reader)
Week 11: The Frankfurt TrialPeter Weiss,
The InvestigationWeek 12: The Eichmann Trial: Nuremberg in JerusalemFilm: CBC production of
The Trial of Adolf EichmannHannah Arendt,
Eichmann in Jerusalem, selections (Reader)
Week 13: Film as WitnessFilm: Claude Lanzmann,
Shoah, selections
Michel Foucault,
The Birth of Biopolitics, selections (Reader)
Week 14: Of Victors and VanquishedFilm: Konrad Wolf,
I Was Nineteen (1968)
Walter Benjamin, "Theses on the Philosophy of History" (Reader)
Week 15: "Hitler—A German Career"Film: Oliver Hirschbiegel,
Downfall (2004)
Karl Jaspers,
The Question of German Guilt, selections (Reader)
Books and Films
Please order the following books either through Amazon or any other online bookstore. You may want to order “express” to make sure to have done the readings on time.
Peter Weiss,
The Investigation (Marion Boyars Publishers)
Primo Levi,
Survival in Auschwitz (Touchstone)
All films should be viewed before our class meetings. All films are available digitally through the Language Resource Center and its website http://www.ruf.rice.edu/~lrc
To access any of the digitized films, you will need your Rice Net ID user name and password. Once you have reached the list of films for “FSEM 122”, you will have another set of user name/password, which are: film000/filmrice. You can access the films from any computer on campus, but not necessarily from your personal computer in your college room.
Work Constituting the Grade
- Preparation for class discussions, active participation in discussions, and response papers (20%)
- Three essays (60%)
- Oral presentation (20%)