In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]

In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]

In July 1944, the Red Army was advancing through Eastern Poland when they discovered the first traces of the camps. On reaching Lublin they found an enormous compound behind barbed wire in the city’s suburb of Majdanek. Embedded with the Soviet army were film crews, who made the first images of a Nazi camp, among them the “flight survivors” Olga a…[Read more]

This essay discusses the cinematic representation of Revolution in Sergei Eisenstein’s film Oktiabr’ / October, a film which had a decisive impact on the revolutionary development of film history and theory. I will explore how Revolution can be re-enacted and shown in the medium of cinema, and how this medium is capable of not only staging his…[Read more]

This essay discusses the cinematic representation of Revolution in Sergei Eisenstein’s film Oktiabr’ / October, a film which had a decisive impact on the revolutionary development of film history and theory. I will explore how Revolution can be re-enacted and shown in the medium of cinema, and how this medium is capable of not only staging his…[Read more]

This essay discusses the cinematic representation of Revolution in Sergei Eisenstein’s film Oktiabr’ / October, a film which had a decisive impact on the revolutionary development of film history and theory. I will explore how Revolution can be re-enacted and shown in the medium of cinema, and how this medium is capable of not only staging his…[Read more]

For archiving I made a couple of screenshots of this rare occasion. German director Alexander Kluge interviewing Natascha Drubek in June 2016. The whole film (45′) can be found when you follow the link below: “Von den Ikonen zum russischen Stummfilm”:
“Russisches Licht” hieß eine mondäne städtische Beleuchtungsart, zuerst in Paris erprobt, d…[Read more]

Ghettoized Languages: Theresienstadt as Czech-German ‘Coerced Community’
(referring to Adler’s book “Theresienstadt 1941-1945; The Face of a Coerced Community”)
1. Theresienstadts Festungen: Von der josephinischen Architektur zum Militärgefängnis und nationalsozialistischen „Ghetto“
2. Nationen im „Ghetto”
3. Zum Begriff der „Zwangsgemein…[Read more]

Ghettoized Languages: Theresienstadt as Czech-German ‘Coerced Community’
(referring to Adler’s book “Theresienstadt 1941-1945; The Face of a Coerced Community”)
1. Theresienstadts Festungen: Von der josephinischen Architektur zum Militärgefängnis und nationalsozialistischen „Ghetto“
2. Nationen im „Ghetto”
3. Zum Begriff der „Zwangsgemein…[Read more]

Ghettoized Languages: Theresienstadt as Czech-German ‘Coerced Community’
(referring to Adler’s book “Theresienstadt 1941-1945; The Face of a Coerced Community”)
1. Theresienstadts Festungen: Von der josephinischen Architektur zum Militärgefängnis und nationalsozialistischen „Ghetto“
2. Nationen im „Ghetto”
3. Zum Begriff der „Zwangsgemein…[Read more]

Ghettoized Languages: Theresienstadt as Czech-German ‘Coerced Community’
(referring to Adler’s book “Theresienstadt 1941-1945; The Face of a Coerced Community”)
1. Theresienstadts Festungen: Von der josephinischen Architektur zum Militärgefängnis und nationalsozialistischen „Ghetto“
2. Nationen im „Ghetto”
3. Zum Begriff der „Zwangsgemein…[Read more]

Ghettoized Languages: Theresienstadt as Czech-German ‘Coerced Community’
(referring to Adler’s book “Theresienstadt 1941-1945; The Face of a Coerced Community”)
1. Theresienstadts Festungen: Von der josephinischen Architektur zum Militärgefängnis und nationalsozialistischen „Ghetto“
2. Nationen im „Ghetto”
3. Zum Begriff der „Zwangsgemein…[Read more]