Some say that telling the story of the Holocaust is impossible, yet, artists have told the story thousands of time since the end of World War II in novels, dramas, paintings, music, sculpture, and film. Over the past seven decades, hundreds of documentaries, narrative shorts and features, and television miniseries have confronted the horrors of the past, creating an easily recognized iconography of persecution and genocide. While it can be argued that film and television have a tendency to trivialize, using the artifacts of popular culture - film and literature - artists keep the past alive, ensuring that victims are not forgotten and the tragedy of the Holocaust is not repeated. The Historical Dictionary of Holocaust Cinema examines the history of how the Holocaust is presented in film, including documentaries, feature films, and television productions. It contains a chronology of events needed to give the films and their reception a historical context, an introductory essay, a bibliography, a filmography of more than 600 titles, and over 100 cross-referenced dictionary entries on films, directors, and historical figures. Foreign language films and experimental films are included, as well as canonical films. This book is a must for anyone interested in the scope of films on the Holocaust and also for scholars interested in investigating ideas for future research.

German film is diverse and multi-faceted; its history includes five distinct German governments (Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany, and the German Democratic Republic), two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as the natural inclination of artists to rebel and create new styles, allow for the construction of a narrative of German film. While the disjuncture generates distinct points of separation, it also highlights continuities between the ruptures. Outlining the richness of German film, The A to Z of German Cinema covers mainstream, alternative, and experimental film from 1895 to the present through a chronology, introductory essay, appendix of the 100 most significant German films, a bibliography, and hundreds of cross-referenced dictionary entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. The book's broad canvas will lead students and scholars of cinema to appreciate the complex nature of German film.

The History of German film is diverse and multi-faceted. This volume can only suggest the richness of a film tradition that includes five distinct German governments [Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany (West Germany), and the German Democratic Republic (East Germany), s well as a reunited Germany], two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as and the natural inclination of artists to rebel and create new styles, allow for construction of a narrative of German film. Disjuncture generates distinct points of separation, and yet also highlights continuities between the ruptures. This second edition of Historical Dictionary of German Cinema contains a chronology, an introduction, appendixes and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. This book is an excellent resource for students, researchers, and anyone wanting to know more about German cinema.

Past and future development as well as possibilities for influencing the process of retirement are discussed, in particular effects on the labour market (supply and demand, behaviour of workers and firms, concerning human resource management and occupational pensions), financing of social security and income of workers. Decisions concerning earlier or postponed, full or partial retirement are the main topic stressing the central role of firms' decisions depending e.g. on their view of the productivity of the elderly. Reports on Scandinavian countries (Sweden, Denmark, Finland) in particular on their approach for partial retirement are included as well as papers discussing possibilities to stop the trend of early exit from the labour force and how to give incentives for a longer working life (e.g. by changes in social security). These topics are discussed in the view of structural changes in demography, economy and society, using - among other - the US and West Germany as examples. The papers point out the necessity to look at retirement as a process (in a life cycle perspective, requiring longitudinal data for empirical research) and in a perspective integrating the different aspects involved.

A fascinating look at Nazi Germany as revealed in its films. This collection of essays offers a view of Nazi Germany through an analysis of twenty films, representing a sampling of the period's directors and reflecting the film medium's major genres. In spite of the control that Goebbels's film industry exercised over all aspects of filmmaking in the Third Reich, the films reveal an individuality that belies subsuming them under any one rubric or containing them within any one theory. Films such as Hitlerjunge Quex, Die große Liebe, and Auf Wiedersehen Franziska represent the Nazi film industry's efforts to propagandize through entertainment. Others such as Immensee, Kleider machen Leute, and Der Schimmelreiter reveal an attempt to expropriate Germany's rich literary past for the regime. These literary adaptations and films like Glückskinder, La Habanera, and Der Kaiser von Kalifornien today seem void of Nazi ideology if viewed outside the context of Nazism. But another film, Der ewige Jude, shocks us with its virulent anti-Semitism and hateful propaganda almost sixty years after its release. All of the films treated, regardless of their fame or notoriety or the level of commitment of their directors to the Nazi cause, played an important role in a cinema that not only represents the dreams and lives of the citizens of the Third Reich, but influencedthem as well. Robert C. Reimer is professor of German at the University of North Carolina, Charlotte.

Arbeitsbuch zu German Culture through Cinema is part of a two book series, along with German Culture through Film. This text covers fourteen films with emphasis on German language skills. The series is designed to appeal to professors who teach courses in general education, liberal arts, cinema, or who conduct a course in German film exclusively in German, or for where students share the same class (and films) for those two different courses.

Each chapter includes:

- Portions of the screen play, generally 2 or 3 scenes each running a page or two

- A division of the film into 5 or 6 parts with each part having a listing of that section's scenes and a brief summary of the scene. Each brief summary is followed by 4-6 questions

- Vocabulary exercises that require students to match words and expressions in one list with those of another. (A few chapters have grammar exercises)

- Information boxes that give background on the film as well as history and culture needed to understand the movie

- A brief summary (120 words) which recycles vocabulary and asks students to fill in 5-7 mixing vocabulary word