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Inglourious Basterds Viewing Guide Name: _______________________________ Who are the characters? What is the conflict? How does the soldier describe Jews? What is the tone of the scene? What emotions are conveyed? Inglourious Basterds Viewing Guide Name: _______________________________ Who are the characters? What is the conflict? How does the soldier describe Jews? What is the tone of the scene? What emotions are conveyed?
Jewish Fears An Excerpt from A Tale of Love and Darkness by Amos Oz
The fear in every Jewish home, the fear that we never talked about but that
we were unintentionally injected with, like a poison, drop by drop, was the chilling fear that perhaps we really were not clean enough, that we really were too noisy and pushy, too clever and money-‐grubbing. Perhaps we didn’t have proper manners. There was a terror that we might, heaven forbid, make a bad impression on the Gentiles, and then they would be angry and do things to us too dreadful to think about.
A thousand times it was hammered into the head of every Jewish child that we must behave nicely and politely with the Gentiles even when they were rude or drunk, that whatever else we did, we must not provoke them or argue with them or haggle with them, we must not irritate them, or hold our heads up, and we must speak to them quietly, with a smile, so they shouldn’t say we were noisy, and we must always speak to them in good, correct Polish, so they couldn’t say we were defiling their language, but we mustn’t speak in Polish that was too high, so they couldn’t say we had ambitions above our station, we must not give them any excuse to accuse us of being too greedy, and heaven forbid that they should say we had stains on our skirts. In short, we had to try very hard to make a good impression, and impression that no child must mar, because even a single child with dirty hair who spread lice could damage the reputation of the entire Jewish people. They could not stand us as it was, so heaven forbid we should give them more reasons not to stand us.
But most of all they dreaded the mobs. They were terrified of what might happen in the gap between governments, for instance if the Poles were thrown out and the Communists came in, they were afraid that in the interval gangs of Ukrainians or Belarussians or the inflamed Polish masses or, farther north, the Luthuanians, would raise their heads once more. It was a volcano that kept dribbling lava all the time and smelling of smoke. “They’re sharpening their knives for us in the dark,” people said, and they never said who, because it could be any of them, The mobs. The only people we were not too afraid of were the Germans. I can remember in 1934 or 1935 – I’d stayed behind in Rovno to finish my nursing training when the rest of the family had left – there were quite a few Jews who said if only Hitler would come, at least in Germany there’s law and order and everyone knows his place, it doesn’t matter so much what Hitler says, what matters is that over there in Germany he imposes German order and the mob is terrified of him. What matters is that in Hitler’s Germany there is no rioting in the streets and they don’t have anarchy – we still thought then that anarchy was the worst state. Our nightmare was that one day the priests would start preaching that the blood of Jesus was flowing again, because of the Jews, and they would start to ring those scary bells of theirs and the peasants would hear and fill their bellies with schnapps and pick up their axes and pitchforks, that’s the way it always began.
Night Key Terms Name: ____________________________ Gestapo
Destruction of the Temple
Boche Kapos
SS
Maimonides Cattle wagons Gypsies
Talmud
Passover Dr. Mengele Job
Cabbala
Zionism Crematory Anti-Semitism
Phylacteries Palestine Kaddish Rosh Hashana & Yom Kippur
Buchenwald, 1945
Photographs from United States Holocaust Memorial Museum Archiveshttp://digitalassets.ushmm.org/photoarchives
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Name: ______________________ Group Members: ___________________________
Holocaust Photograph Analysis Title of Photo: Step 1: Observation A. Study the photograph for 1-‐2 minutes on your own. Form an overall impression of the photograph and then examine individual items. B. In your groups, use the chart below to list people, objects, and activities:
People Describe how they look.
Objects What are they?
Activities What action is taking place?
Step 2: Inference Based on what you have observed above, list three things you might infer from this photograph. (Where is this photo taken? What is the mood of the photo? What are the lives like of the people in the photograph?) 1. 2. 3. Step 3: Questions List three things your group wants to know more about regarding what is going on and who/what is in this photograph. 1. 2. 3.
Night Name: __________________________ Memoir Notes
What is a memoir? Definition: Characteristics: •
•
•
•
•
Authors write memoirs to: •
• •
Memoir Brainstorm: What’s your earliest memory? What is the most important thing that has ever happened to you? What is the worst thing that ever happened to you? What is something you will never forget? What is the moment where you were 100% happy? What was a time when you felt brokenhearted? What memory shows something important about your family or your friends? What was a time when you’ve laughed harder than you’ve ever laughed before?
Night Name: __________________________ Memoir Notes
What is a memoir? Definition: A description of an actual event, written in first person and based on truth Characteristics: • Story of a memory
• Lots of details
• Includes reflection, not just description
• Focuses on a specific event or period, not an entire life
• Each event described has a purpose
Authors write memoirs to: • revisit things that happened to them in the past
• look at who they were at a particular time in their life • invite readers ‘in’ to their life and story
Memoir Brainstorm: What’s your earliest memory? What is the most important thing that has ever happened to you? What is the worst thing that ever happened to you? What is something you will never forget? What is the moment where you were 100% happy? What was a time when you felt brokenhearted? What memory shows something important about your family or your friends? What was a time when you’ve laughed harder than you’ve ever laughed before?
U N I T E D S TAT E S H O L O C A U S T M E M O R I A L M U S E U M
If you were a judge, how would you assess the “responsibility” of these people for what happenedin the world between 1933 and 1945? Indicate one of the following:
1. Not responsible2. Minimally responsible3. Responsible4. Very responsible
1. One of Hitler’s direct subordinates, such as Heinrich Himmler or Joseph Goebbels
2. A German who voluntarily joined Hitler’s special elite, the SS
3. A German industrialist who financially supported Hitler’s rise to power and continued tosupport him verbally
4. A judge who carried out Hitler’s decrees for sterilization of the “mentally incompetent” andinternment of “traitors”
5. A doctor who participated in sterilization of Jews
6. A worker in a plant making Zyklon B gas
7. The Pope, who made no public statement against Nazi policy
8. An industrialist who made enormous profits by producing Zyklon B gas
9. A manufacturer who used concentration camp inmates as slave labor in his plants
10. An American industrialist who helped arm Hitler in the 1930s
11. A person who voluntarily joined the Nazis in the 1930s
12. A person who agreed to publicly take the Civil Servant Loyalty Oath (swearing eternal allegiance to Adolf Hitler in 1934)
Teaching about the Holocaust
E D U C AT I O N D I V I S I O N
Assessing and Defining Responsibility
13. A person who complied with the law excluding Jews from economic and social life
14. A person who regularly, enthusiastically attended Hitler rallies
15. A person who always respectfully gave the “Heil Hitler” salute
16. A person who served as a concentration camp guard
17. A person who turned the lever to allow the gas into the chambers
18. A driver of the trains that went to the concentration camps
19. A diplomat for the Nazi government
20. The American Government, which limited emigration of Jews to the U.S. in the 1930s
21. The “little guy” who claimed “he doesn’t get involved in politics” and thus went about his business as quietly as he could in the Hitler regime
22. The soldier who carried out orders to roust Jews from their homes for “evacuation and resettlement”
23. The German couple who took up residence in a home evacuated by Jews
24. The non-Jews who took over a store just abandoned by Jews
25. The German who refused all pleas to participate in hiding and smuggling of Jews
26. The policeman who helped round up escaping Jews
27. A teacher who taught Nazi propaganda
28. Children who joined the Hitler Youth
29. Parents who sent or allowed their children to attend Hitler Youth meetings
30. The Protestant clergyman who gave to the Nazis lists of members of his congregation who were“non-Aryan.”
Adapted from Flaim, Richard F., and Edwin W. Reynolds Jr., eds., The Holocaust and Genocide(New York: Anti-Defamation League of B’nai B’rith, 1983).
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ASSESSING AND DEFINING RESPONSIBILITY
Magazine New York Post cover: When should photographers drop their cameras? By Jon Kelly, BBC News Magazine, Washington DC December 6, 2012
A newspaper cover showing a man seconds before his death has been widely criticised. When tragedy strikes, do photographers - professional or otherwise - have a duty to intervene?
He looks up, helpless, as the train careers towards him. "Pushed on the subway track, this man is about to die," runs the front-page text on the
New York Post. Below, in block capitals, is a single-word headline: "DOOMED." It's a shocking image, and the paper's splash has provoked an angry backlash. The photographer who took the picture has faced particular opprobrium. Why, countless
social media users have asked, didn't he help the victim instead of photographing his final moments?
Once, this ethical conundrum would have been one for journalists and media studies classes alone.
But in the age of social media, when a cameraphone invariably rests in a nearby pocket as tragedy strikes, it becomes a potential dilemma for everyone.
The photojournalist, freelancer R Umar Abbasi, insisted that he could not have reached the man—who was shoved by a stranger on to the track at 49th Street station near Times Square - and that he tried to use his camera flash to alert the train driver.
"I just started running. I had my camera up - it wasn't even set to the right settings - and I just kept shooting and flashing, hoping the train driver would see something and be able to stop," he said, in an article headlined My Snap Decision.
It's not the first controversy over a powerful image of a tragic event. Photographer Kevin Carter was awarded the Pulitzer prize for his picture of a vulture
stalking a starving Sudanese toddler in 1993, but he was fiercely criticised for failing to help the child. Carter killed himself a year later.
But advocates for the craft argue that even the most shocking shots are sometimes necessary to bring home the reality of the world's horrors.
Associated Press photographer Nick Ut's image of nine-year-old Phan Thi Kim Phuc running naked after a napalm attack was one of the defining images of the Vietnam war. Ut took the girl and other injured children to hospital and stayed in touch with her.
However, few would deny that bystanders, including photographers, have a moral duty to help those around them who are suffering.
"You always have to err on the side of helping a human being," says photojournalist Steve McCurry, best known for his haunting, award-winning shot of "the Afghan girl" on a 1985 cover of National Geographic magazine.
"If there's a way to help someone, you need to put down your camera or your pen and do that."
Nonetheless, McCurry has little time for those who attacked Abbasi for a split-second decision made in fast-moving circumstances. None of the most vocal critics, McCurry adds, witnessed the incident for themselves.
"These things happen suddenly," he says. "There's all this emotion and the crowds and the noise.
"You are talking about reflexes. You're on automatic pilot." Stuart Franklin, who took one of the iconic images of a protester standing in front of a
tank in Tiananmen Square, argues that the ethical responsibility for running the picture lies not with the photographer, but with the New York Post's editors.
"I feel it was unnecessary - it was a sensationalist attempt to sell newspapers," he says. "It's the ugly end of journalism."
The Leveson inquiry in the UK has exposed the mainstream media to greater scrutiny than ever, and tighter regulation of the traditional press seems to be inevitable. But it may be far more difficult to moderate the behaviour of the "citizen journalist", who in this smartphone era could easily have taken the New York subway pictures.
"We're going to be seeing much more of this because things like this are going to be increasingly covered, not just in photos but also on video," says Dan Gillmor, author of We the Media: Grassroots Journalism by the People, for the People.
Pictures and footage taken by the public at disaster scenes such as those of the 7/7 attacks on London's transport network were seen by millions.
It raises the question of whether ordinary members of the public have an obligation to start thinking about media ethics in the same way as the most experienced war correspondent.
But advocates of citizen newsgathering - who value the capacity of amateurs to get to places professional reporters often can't - say it would be a mistake to hold everyone to the same standards as veterans of the craft.
For Jay Rosen, professor of journalism at New York University, the onus is on publishers to ensure that what they put out is ethically sound.
"Since the tools for making media have been distributed to the people formerly known as the audience, the scene where professional ethics 'happen' must shift to the filters that news organisations apply when they decide what to publish," he says.
No doubt the debate around the Post's cover will continue. If nothing else, it illustrates yet again the timeless power of a photograph.
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