Difficult Pasts provides a wide-ranging discussion of contemporary Germany's rich memorial landscape. It discusses the many memorials to German losses during the Second World War, to the victims of National Socialism and to those of GDR socialism. With up-to-date coverage of many less well-known memorials as well as the most publicised ones.
At the notorious Buchenwald concentration camp, communist prisoners organized resistance against the SS and even planned an uprising. They helped rescue a three-year-old Jewish boy, Stefan Jerzy Zweig, from certain death in the gas chambers. After the war, his story became a focus for the German Democratic Republic's celebration of its resistance to the Nazis. Now Bill Niven tells the true story of Stefan Zweig: what actually happened to him in Buchenwald, how he was protected, and at what price. He explores the (mis)representation of Zweig's rescue in East Germany and what this reveals about that country's understanding of its Nazi past. Finally he looks at the telling of the Zweig rescue story since German unification: a story told in the GDR to praise communists has become a story used to condemn them. Bill Niven is Professor of Contemporary German History at the Nottingham Trent University, UK.
An exposé of Hitler's relationship with film and his influence on the film industry A presence in Third Reich cinema, Adolf Hitler also personally financed, ordered, and censored films and newsreels and engaged in complex relationships with their stars and directors. Here, Bill Niven offers a powerful argument for reconsidering Hitler's fascination with film as a means to further the Nazi agenda. In this first English-language work to fully explore Hitler's influence on and relationship with film in Nazi Germany, the author calls on a broad array of archival sources. Arguing that Hitler was as central to the Nazi film industry as Goebbels, Niven also explores Hitler's representation in Third Reich cinema, personally and through films focusing on historical figures with whom he was associated, and how Hitler's vision for the medium went far beyond "straight propaganda." He aimed to raise documentary film to a powerful art form rivaling architecture in its ability to reach the masses.
The book delves into the differing perceptions of Nazi Germany between communist East Germany and West Germany during the Cold War. It highlights how the reunification of Germany has led to a reevaluation of memories surrounding the Third Reich, fostering a more open confrontation with the past. Key themes include the evolving narrative of resistance to Hitler and the debates that emerged as part of this historical reassessment, reflecting a significant shift in understanding Germany's complex history.
The book explores a significant cultural shift in Germany's collective memory, moving from a focus on Nazi perpetration to an emphasis on German victimhood. It critically examines how this change reflects broader societal attitudes nearly sixty years after World War II, highlighting the implications of this narrative for understanding contemporary German identity. Students of history, politics, and culture will find the contextual analysis of current victim discourse within a historical framework particularly insightful.
Explore a unique and charming look at the history of East Kilbride and its inhabitants, through a fascinating collection of beautiful photographs.
It is by now almost a cliche that the flight and expulsion of Germans from east-central Europe at the end of the Second World War was a taboo topic in the German Democratic Republic. According to this claim, the Socialist Unity Party (SED) suppressed reference to flight and expulsion so as not to upset its socialist neighbors. This book shows that such a view does not hold up to serious scrutiny. While the topic may not have been addressed in the realm of politics or official commemoration, it was picked up again and again in literature, particularly fiction. Representations of flight and expulsion were by no means restricted, as some have asserted, to Christa Wolf's novel Kindheitsmuster: Niven's study documents around one hundred novels and short stories published in the GDR that address flight or expulsion. He argues that in the 1950s and early 1960s GDR fiction included many refugee figures. The predominant emphasis was on their integration under socialism rather than their experience of flight and loss of home; nevertheless, flight and to a lesser degree expulsion were depicted, as was their impact on individuals. They continued to be portrayed in the late GDR and in post-unification east Germany. Flight and expulsion were subject to a developing literary discourse in the GDR, a discourse that this book explores. Bill Niven is Professor in Contemporary German History at Nottingham Trent University.
This is the first book to examine this crucial relationship between politics and culture in Germany, not only during the Nazi and Cold War eras but in periods when the effects are less obvious
Der Propagandafilm »Jud Süß« (1940) wurde von den Nationalsozialisten gezielt eingesetzt, um antisemitische Gewalttaten hervorzurufen – zum Beispiel in den Konzentrationslagern. Umso erstaunlicher ist es, dass der Regisseur Veit Harlan nach dem Zweiten Weltkrieg die antisemitische Stoßrichtung des Filmes leugnete. Bill Niven schildert in seinem Buch u. a. die intensive Debatte um den Film – und um die Person Harlans – im Nachkriegsdeutschland. Demonstrationen in Westdeutschland in den 1950er Jahren gegen Harlans Neueinstieg ins Filmgeschäft spielten eine wichtige Rolle bei der Entwicklung einer demokratischen Protestkultur und einer Abwehrhaltung gegenüber Antisemitismus. Im Nahen Osten aber fing Harlans Film ein neues Leben an – als antiisraelische Propaganda. Die Bundesrepublik reagierte auf diesen Missbrauch recht zögerlich. Damit war aber die Geschichte des Films keineswegs zu Ende. Bis in die Gegenwart versucht man, anhand von »Jud Süß« mit pädagogischen Mitteln aufzuzeigen, wie antisemitische Propaganda funktioniert – die Angst vor dem Film ist aber noch groß.
Ein Abschied
Bill Niven pflegt seine Frau, die an Multipler Sklerose erkrankt, viele Jahre bis zu ihrem Tod. Um seine Trauer zu bewältigen, erzählt er Helena ihr gemeinsames Leben in seinen Erinnerungen. Es ist ein Leben, in dem sich alles ändert, weil die Krankheit beide immer mehr beherrscht, auch wenn sie versuchen, Normalität herzustellen. Er schreibt von seinen Gedanken, Hoffnungen und Bedürfnissen wie auch von Schuldgefühlen, weil er an den Punkt kommt, wo er als Pflegender aufhört, sich selbst zu spüren, seine Kräfte schwinden und es um das eigene Überleben geht. Das Buch wendet sich vor allem an diejenigen, die ihre Erfahrungen mit Krankheit, Pflege und Tod haben – in allen Altersgruppen. Doch es eignet sich auch als Lektüre für Menschen, die diese Erfahrungen (noch) nicht teilen. Es ist für Männer und Frauen geschrieben worden. Die Erfahrungen, die der Autor beschreibt, kennen keinen bestimmten Ort, sie sind universell. Es gibt Bücher zum Thema Krankenpflege und Trauer, aber wenige, sehr wenige, die sich mit den Schuldgefühlen des Pflegenden auseinandersetzen. Hier setzen die berührenden Erinnerungen von Bill Niven an, der von einem schmerzhaften Verlust und von einer großen Liebe erzählt, die fortbesteht, nicht zuletzt auch, weil der, der zurückbleibt, die Gewissheit hat: „Ich habe geliebt. Ich wurde geliebt. Das bleibt. Das Bewusstsein, dass es so war.“