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SHADOWS OF UNDERSTANDING: THE HOLOCAUST IN THEATRE AND PERFORMANCE; LSP 200 MIDTERM EXAM

Section One (mandatory in at least one page): Why is the Blood Libel important in understanding the Holocaust and respond to this, which is found in Prof. Robert Bucholtz’s, lecture https://depaul.kanopy.com/video/holocaust-1933-45 . I also made it into a PDF (attached) for you to read as a NEWS item in D2L? Section Two Choose two of the following to answer (in at least one page for each question you choose): II. Religion is referenced in many Holocaust works. What deep significance does religion have in the following plays/films. 1. The Pawnbroker dir. Sydney Lumet (on library reserves https://depaul-ares-atlas-sys-com.ezproxy.depaul.edu/ares/ares.dll?SessionID=U125049170W&Action=10&Form=60&Value=189981 ) 2. Amen. (on library reserves ) 3. The Diary of Anne Frank dir. George Stevens (on youtube) III. Memory and identity are important in the plays/films listed below. Give examples of how memory and identity are utilized in the following with examples. (all are in library reserves): 1. Night and Fog 2. Bent 3. Jakob der Lugner IV. The body and/or sexuality is a very important aspect in the Holocaust works we have seen. Choose from below and explain why the body and/or sexuality is used in light of the Holocaust. Use examples from each of the works below. 1. Who Will Carry The Word by Charlotte Delbo (script on D2L) 2. The Pawnbroker 3. Bent dir. Sean Mathias (videos on library reserves) Section Three – Choose one below to write about in great detail (at least two pages): V. Holocaust Theatre scholar, Robert Skloot writes the following: In general, playwrights of the Theatre of the Holocaust are motivated by five objectives, often simultaneously pursued: 1) to pay homage to the victims, if not as individuals then as a group; 2) to educate audiences to the facts of history; 3) to produce an emotional response to those facts; 4) to raise certain moral questions – for audiences to discuss and reflect upon; and 5) to draw a lesson from the events re-created. What makes their work different from attempts to deal with other tragic themes, war for example, is their conviction that the Holocaust was a unique historical (and theological, political, and social) event, an event unlike anything else in the long and often tragic story of Western civilization. Choose two works from class or on the D2L library reserves — https://depaul-ares-atlas-sys-com.ezproxy.depaul.edu/ares/ares.dll that you feel represent the criteria Skloot states in the quote above and explain how these criteria are in the works chosen, with examples. VI. In shaping the Holocaust play/film many things must be considered and then the actual shape or the aesthetic takes on particular ways of creating a Holocaust play/film. List at least four of these aesthetic concerns and/or others (four all together) such as “seeing”, “memory”, “fragmented”, “love”, “identity”, and “exile.” How do they affect the works that we have seen in class and give concrete examples? VIII. Women in Holocaust works are either directly affected by the Holocaust or they are pivotal in the stories we have seen. Write about the story in each and the role of the women in relation to the Holocaust in each of the following. What is it in these roles is “traditional” and what is not? What is archetypal?: 1. Who Will Carry The Word 2. The Diary of Anne Frank dir. George Stevens (on youtube) 3. Pawnbroker https://depaul-ares-atlas-sys-com.ezproxy.depaul.edu/ares/ares.dll IX. Amen. by Costa-Gavras, though not a film we have done in class is very important in understanding the role of institutions that had power which could have used it to, at the least deter the Holocaust, and at the most galvanized world support against it. View it in the library reserves https://depaul-ares-atlas-sys-com.ezproxy.depaul.edu/ares/ares.dll and address the following questions: a. Why should the Catholic Church have confronted the Holocaust and what in the movie do you think represents that? b. What role did the Protestant Confessing Church have in the Holocaust, who in Amen. represents that group, and what scenes in particular are about them? c. Why did Riccardo Fontana reach out to Kurt Gerstein and did Gerstein get involved? Explain why or why not and the historical context. d. How was Zyklon B Gas used initially? e. Who represents evil in the film and how do we know that? f. Are there any Jews in the film and what roles do they play in the story in the film? g. How does the Catholic Church view Jews and the Jewish religion and how do we see that represented in the film? h. What is the point of Fontana wearing a symbol on his Catholic garb at the end of the film? What do you think it means in light of the Holocaust? i. Why was the original play by Rolf Hochhuth called “The Deputy: A Christian Tragedy” k. What does the ending of the film mean and why does the title, Amen. have a period?

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