Through Amateur Eyes : Film and Photography in Nazi Germany

We have seen the films of professionals and propagandists celebrate Adolf Hitler, his SS henchmen, and the Nazi Party. But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany. Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lu3dz ghetto, and home movies and family albums of Hitler's mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss. Many of these images have been reused-often unacknowledged-in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment. We Have Seen The Films Of Professionals And Propagandists Celebrate Adolf Hitler, His Ss Henchmen, And The Nazi Party. But What Of The Documentary Films And Photographs Of Amateurs, Soldiers, And Others Involved In The War Effort Who Were Simply Going About Their Lives Amid Death And Destruction? And What Of The Films And Photographs That Want Us To Believe There Was No Death And Destruction? This Book Asks How Such Images Have Shaped Our Memories And Our Memorialization Of World War Ii And The Holocaust. Frances Guerin Considers The Implications Of Amateur Films And Photographs Taken By Soldiers, Bystanders, Resistance Workers, And Others In Nazi Germany.her Book Explores How Photographs Taken By Soldiers And Bystanders On The Eastern Front, Depictions Of Everyday Life In The Lodz Ghetto, And Home Movies And Family Albums Of Hitler's Mistress Eva Braun, Among Others, Can Challenge The Conventional Idea That Such Images Reflect Nazi Ideology Because They Are Taken By Perpetrators And Sympathizers. Through Amateur Eyes Upsets Our Expectations And Demonstrates How These Images Can Be Understood As Chillingly Unrehearsed Images Of War, Trauma, And Loss.many Of These Images Have Been Reused--often Unacknowledged--in Contemporary Narratives Memorializing World War Ii: Museum Exhibitions, Made-for-television Documentaries, Documentary Films, And The Internet. Guerin Shows How Modern Uses Of These Images Often Reinforce Well-rehearsed Narratives Of Cultural Memory. She Offers A Critical New Perspective On How We Can Incorporate Such Still And Moving Images Into Processes Of Witnessing The Traumas Of The Past In The Present Moment. -- Introduction: Alternate Perspectives From Nazi Germany -- 1. Witnessing From A Distance, Remembering From Afar: How To See Amateur Images -- 2. On The Eastern Front With The German Army -- 3. The Privilege And Possibility Of Color: The Case Of Walter Genewein's Photographs -- 4. Europe At War In Color And Motion -- 5. At Home, At Play, On Vacation With Eva Braun: From The Berghof To Youtube And The Imperative To Remember. Frances Guerin. Includes Bibliographical References (p. 287-327) And Index. " We have seen the films of professionals and propagandists celebrate Adolf Hitler, his SS henchmen, and the Nazi Party. But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany.Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lodz ghetto, and home movies and family albums of Hitler's mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss.Many of these images have been reused--often unacknowledged--in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment. "-- Page [4] de la couverture "We have seen the films of professionals and propagandists celebrate Adolf Hitler, his SS henchmen, and the Nazi Party. But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany. Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lodz ghetto, and home movies and family albums of Hitler's mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss. Many of these images have been reused--often unacknowledged--in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment."-- Provided by publisher We have seen the films of professionals and propagandists celebrate Adolf Hitler, his SS henchmen, and the Nazi Party. But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany. Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lódz ghetto, and home movies and family albums of Hitler’s mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss. Many of these images have been reused—often unacknowledged—in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment. Cover......Page 1 Contents......Page 10 Acknowledgments......Page 12 Introduction: Alternate Perspectives from Nazi Germany......Page 14 1 Witnessing from a Distance, Remembering from Afar: How to See Amateur Images......Page 26 2 On the Eastern Front with the German Army......Page 62 3 The Privilege and Possibility of Color: The Case of Walter Genewein’s Photographs......Page 118 4 Europe at War in Color and Motion......Page 184 5 At Home, at Play, on Vacation with Eva Braun: From the Berghof to YouTube and the Imperative to Remember......Page 242 Notes......Page 312 B......Page 354 D......Page 356 F......Page 357 G......Page 358 H......Page 359 I......Page 360 L......Page 361 M......Page 362 P......Page 363 R......Page 364 S......Page 365 W......Page 366 Z......Page 367 Plates......Page 369 Machine generated contents note: ContentsAcknowledgmentsIntroduction: Alternate Perspectives from Nazi Germany1. Witnessing from a Distance, Remembering from Afar: How to See Amateur Images 2. On the Eastern Front with the German Army 3. The Privilege and Possibility of Color: The Case of Walter Genewein's Photographs 4. Europe at War in Color and Motion 5. At Home, at Play, on Vacation with Eva Braun: From the Berghof to YouTube and the Imperative to Remember Notes Index.