Images of Occupation in Dutch Film identifies and explores compelling links between Dutch post-war society—especially during the 1960s, 1970s, and 1980s—and the films made in this period about the German occupation of the Netherlands.
Author: Wendy Burke
Publisher: Amsterdam University Press
Images of Occupation in Dutch Film is the first book in English to examine changing representations of the German wartime occupation of the Netherlands within Dutch post-war feature films made in the period 1962 to 1986. This important new study explores in detail the complex, evolving role played by film within Dutch cultural memory and asks to what extent film can fully embrace, transmit or assimilate the complexities and collective legacies of war and occupation. As Dutch public opinion towards the war altered over the post-war decades - attitudes to the 1940-1945 occupation, Jewish persecution, the enemy, deprivations, resistance and collaboration - so too shifted the presence - or indeed absence - of these elements in subsequent films. The historical trajectory of Dutch recovery and reconstruction: politically, economically and - most complex of all - psychologically, came to be revealed, often unconsciously, in the films from that time. Through detailed analyses of eight key film texts ranging from 1962's De Overval, to Verhoeven's Soldaat van Oranje and Rademakers' De Aanslag, this book offers valuable insights into the previously under-explored connections between filmic images of occupation and how these reflect parallel shifts in Dutch society's perceptions about the war at the times the films were made. It asks how a nation's films re-tell its history.
11 | 205 val than with other Dutch war pictures depicting a moral grey area. ... In her study Images of Occupation in Dutch Film, Wendy Burke is particularly attentive to the 'greyer incarnations' of the German soldiers in Dutch war ...
Author: Peter Verstraten
Publisher: Amsterdam University Press
Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers's oeuvre, which spans 'art' cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but psychoanalytic theories on desire and fantasy are employed to put this idea into perspective. In the vein of cinephilia, this study brings together canonical titles (ALS TWEE DRUPPELS WATER; SOLDAAT VAN ORANJE) and little gems (MONSIEUR HAWARDEN; KRACHT). It juxtaposes among others GLUCKAUF and DE VLIEGENDE HOLLANDER (on father figures); FLANAGAN and SPOORLOOS (on rabbles and heroes); DE AANSLAG and LEEDVERMAAK (on historical traumas); ANTONIA and BLUEBIRD (on aphanisis).
During World War II itself, the Dutch film industry was taken over by the Nazi occupation forces. ... See also FEMINIST CINEMA . a in Further Reading: Burke, Wendy Images of Occupation in Dutch Film: Memory, Myth and the Cultural Legacy ...
Author: Annette Kuhn
Publisher: Oxford University Press
Category: Performing Arts
A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.
The speech is mentioned in Wendy Burke, 'A Dutch Occupation: The Representation of World War II in Films from the Netherlands, 1962–1986' (Ph.D. dissertation, King's College, London, 2009), 106–7; included in Images of Occupation in ...
Author: Philip Morgan
Publisher: Oxford University Press
Hitler's Collaborators focuses the spotlight on one of the most controversial and uncomfortable aspects of the Nazi wartime occupation of Europe: the citizens of those countries who helped Hitler. Although a widespread phenomenon, this was long ignored in the years after the war, when peoples and governments understandably emphasized popular resistance to Nazi occupation as they sought to reconstruct their devastated economies and societies along anti-fascist and democratic lines. Philip Morgan moves away from the usual suspects, the Quislings who backed Nazi occupation because they were fascists, and focuses instead on the businessmen and civil servants who felt obliged to cooperate with the Nazis. These were the people who faced the most difficult choices and dilemmas by dealing with the various Nazi uthorities and agencies, and who were ultimately responsible for gearing the economies of the occupied territories to the Nazi war effort. It was their choices which had the greatest impact on the lives and livelihoods of their fellow countrymen in the occupied territories, including the deportation of slave-workers to the Reich and hundreds of thousands of European Jews to the death camps in the East. In time, as the fortunes of war shifted so decisively against Germany between 1941 and 1944, these collaborators found themselves trapped by the logic of their initial cooperation with their Nazi overlords — caught up between the demands of an increasingly desperate and extremist occupying power, growing internal resistance to Nazi rule, and the relentlessly advancing Allied armies.
The Case of the Netherlands Filmmuseum (1946-2000), 2017 isbn 978 90 8964826 6 Wendy Burke Images of Occupation in Dutch Film. Memory, Myth, and the Cultural Legacy of War, 2017 isbn 978 90 89648549 Bernd Herzogenrath The Films of Bill ...
Author: Bernd Herzogenrath
Publisher: Amsterdam University Press
Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's "aesthetics of the archive"-his creative play with archival footage and his focus on the materiality of the medium of film.
The Dutch prisoners-of-war in Burma had the right response: passive resistance and sabotage'.23 Supported by David Lean's film hit, the 'Kwai' became a toposor recurring image of Dutch memory. In 1960, the Dutch War Graves' Commission ...
Author: Kevin Blackburn
Experiences of captivity in Japanese-occupied Asia varied enormously. Some prisoners of war (POWs) were sent to work in Japan, others to toil on the ‘Death Railway’ between Burma and Thailand. Some camps had death rates below 1 per cent, others of over 20 per cent. While POWs were deployed far and wide as a captive labour force, civilian internees were generally detained locally. This book explores differences in how captivity was experienced between 1941 and 1945, and has been remembered since: differences due to geography and logistics, to policies and personalities, and marked by nationality, age, class, gender and combatant status. Part One has at least one chapter for each ‘National Memory’, Australian, British, Canadian, Dutch, Indian and American. Part Two moves on to forgotten captivities. It covers women, children, camp guards, internee experiences upon the end of the war, and local heroines who fought back. By juxtaposing such a wide variety of captivity experiences – differentiated both by category of captive and by approach - this book transcends place, to become a collection about captivity as a category. It will interest scholars working on the Asia-Pacific War, on captivities in general, and on the individual histories of the countries and groups covered.
Frank van Vree, “'Our Tortured Bride': The Japanese Occupation of the Dutch East Indies in Dutch Films and Documentaries” ... Occupation of Indonesia: Personal Testimonies and Public Images in Indonesia, Japan, and The Netherlands, ed.
Author: Elleke Boehmer
Publisher: Lexington Books
Category: Literary Criticism
The Postcolonial Low Countries is the first book to bring together critical and comparative approaches to the emergent field of neerlandophone postcolonial studies. Each one of the contributions puts under pressure the definitive concepts of postcolonial studies in its more conventional anglophone or francophone formation, as well as perceptions of the Low Countries, Belgium and the Netherlands, as lying outside or to the side of the postcolonial domain.
A review of the emerging studies on masculinity in Indonesia cinema will follow and assesses the shifting images of men ... occupation of the Malay archipelago in 1942 and the Japanese takeover of the Dutch government film production ...
Author: Alicia Izharuddin
Category: Social Science
This book presents a historical overview of the Indonesian film industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women's rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political changes and upheavals in Indonesia’s modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.
Founded in the 1930s on the German model, Dutch film production was confiscated during the occupation and used to turn ... and Soldier of Orange (Paul Verhoeven, dir., 1977) the image of the heroic Dutchman was forcefully deconstructed.
Author: Ron Eyerman
Publisher: Duke University Press
In November 2004, the controversial Dutch filmmaker Theo van Gogh was killed on a busy street in Amsterdam. A twenty-six-year-old Dutch citizen of Moroccan descent shot van Gogh, slit his throat, and pinned a five-page indictment of Western society to his body. The murder set off a series of reactions, including arson against Muslim schools and mosques. In The Assassination of Theo van Gogh, Ron Eyerman explores the multiple meanings of the murder and the different reactions it elicited: among the Amsterdam-based artistic and intellectual subculture, the wider Dutch public, the local and international Muslim communities, the radical Islamic movement, and the broader international community. After meticulously analyzing the actions and reputations of van Gogh and others in his milieu, the motives of the murderer, and the details of the assassination itself, Eyerman considers the various narrative frames the mass media used to characterize the killing. Eyerman utilizes theories of social drama and cultural trauma to evaluate the reactions to and effects of the murder. A social drama is triggered by a public transgression of taken-for-granted norms; one that threatens the collective identity of a society may develop into a cultural trauma. Eyerman contends that the assassination of Theo van Gogh quickly became a cultural trauma because it resonated powerfully with the postwar psyche of the Netherlands. As part of his analysis of the murder and reactions to it, he discusses significant aspects of twentieth-century Dutch history, including the country’s treatment of Jews during the German occupation, the loss of its colonies in the wake of World War II, its recruitment of immigrant workers, and the failure of Dutch troops to protect Muslims in Srebrenica in 1995.
Wartime transitions During the Second World War, Germany occupied the film studios of the Netherlands and destroyed all film stock at the end of the war. Only one Dutch fiction film was released during the war and in the two following ...
Author: Jill Nelmes
Category: Performing Arts
Women Screenwriters is a study of more than 300 female writers from 60 nations, from the first film scenarios produced in 1986 to the present day. Divided into six sections by continent, the entries give an overview of the history of women screenwriters in each country, as well as individual biographies of its most influential.