Trophy, evidence, document: appropriating an archive film from Liepaja, 1941.
Many German soldiers filmed with their private cameras during World War II, but only lately have some of these private films become part of public archives and begun circulating in documentary films and historical television. An early example is an archive film depicting mass shootings in the Latvia...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 36; no. 4; pp. 509 - 529 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119334440&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119334440 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Dec2016 vid: 36 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 119334440 10.1080/01439685.2016.1157286 ppf: 509 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 447KB tig: atl: Trophy, evidence, document: appropriating an archive film from Liepaja, 1941. aug: au: Ebbrecht-Hartmann, Tobias su: 20th century documentary films 20th century war films Military personnel in motion pictures Mass shootings Amateur films Film archives Twentieth century History Liepāja (Latvia) sug: subj: Liepāja (Latvia) 20th century documentary films 20th century war films Military personnel in motion pictures Mass shootings Amateur films Film archives Twentieth century History ab: Many German soldiers filmed with their private cameras during World War II, but only lately have some of these private films become part of public archives and begun circulating in documentary films and historical television. An early example is an archive film depicting mass shootings in the Latvian town of Liepaja in July 1941, recorded by Reinhard Wiener, a German marine sergeant and amateur cinematographer. From a wartime trophy, the footage transformed into evidence through its first public screening during the Eichmann trial in Jerusalem. It then migrated into different historical documentaries and films such as Erwin Leiser’s Eichmann und das Dritte Reich (CH/FRG 1961) and Stefan Ruzowitzky’s Das radikal Böse (AUS/GER 2013). The paper describes the context, analyzes the status of the footage, and traces its transformation from wartime trophy to evidence and finally into an archival document. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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