For one, the cover art used for each of these media formats is remarkably -- and perhaps not coincidentally -- similar. Spiegelman's graphic novel cover depicts a large white circle front and center. On this white circle is a Nazi swastika with a cat face at its center. The title "Maus" is written in a bloody red font, and below the white circle are characters -- perhaps Vladek and Anja. The cover art on Film Unfinished also has a circle -- a wheel occupying the background. This wheel is not white, but it is a film reel to represent the Nazi propaganda film in question. Just as the white circle on the cover of Maus sports a Nazi swastika, so to does the film reel. Below the film reel are crowds of people. Both Maus and Film Unfinished use frame narratives to anchor present and past, and to impart the sense that there is an objective documentarian who is offering the reader (or viewer) tidbits of historical information and artifacts. For example, the opening scenes of both Maus and Film Unfinished involve the media itself -- film in the case of Film Unfinished and drawing in the case of Maus. Both Maus and Film Unfinished also use several crowd scenes that can be directly compared for their structure, content, and meaning. The crowd scenes are intense for many reasons. For one, the crowd scenes demonstrate the extent of anti-Semitism and the way it had seeped into the European consciousness. This is especially true in the scene about 40 seconds into Film Unfinished,...
Second, the crowds scenes depict the nameless faces of Holocaust victims, which ironically become humanized through interviews in the case of Film Unifinished and through memorials to actual people like Art Spiegelman's parents in Maus.
Holocaust, and how Primo Levi survived his imprisonment in Auschwitz. Specifically, it will answer the questions: What perspective does Levi provide on day-to-day survival within Auschwitz? Is there order amidst the chaos of mass murder? Primo Levi's book, "Survival in Auschwitz" is a compelling look at the horrors of the most notorious Nazi prison camp, Auschwitz, but more so, it is a tale of the strength of human character
Nazi Holocaust The picture shows a larger-than-life gigantic bearded and very hairy naked man wearing a kippah (Hebrew head-covering) with the Star of David on it. He has a large and crooked nose and a ferocious, rather frightening grin as he appears to be gleefully tearing up railroad tracks and wreaking destruction on a city. There is something round, perhaps a large city water-storage tank, which has railroad tracks wrapped around
However, seeing those bags of shaved prisoner hair, I came to understand how much of the impetus for the Holocaust was financial. Hitler may have had an irrational, psychotic hatred of Jews, but the Holocaust could not have occurred with the systemic dehumanization of a group of people. The Nazis harvested Jews for body parts. They used their bones for fertilizer and, as proven by the bags of hair,
This happened because of the fact that many Catholic individuals could not resist the temptation of joining and supporting the Nazis as their power grew. Considering that doing otherwise would have had terrible consequences for them, it seems normal that they did not dare to rise against Nazism. With claims like "The Church must enter completely into the Third Reich, it must be co-ordinated into the rhythm of the
The traditional view of these 15th century explorers is that they were brave sailors who braved the risks and difficulties of oceanic travel and who "discovered" new lands in distant places. In truth, they were horribly brutal, homicidal tyrants who actually were responsible for more atrocities than the worst modern-day examples of dictators and perpetrators of crimes against humanity. The human carnage committed by Columbus and his armies and by
Race and Racism Race is one of the most complicated and interesting topics in the social sciences. In many ways, race is an artificial construct, since there is no single genetic marker differentiating one race from another and racial identities change and bend with cultural norms. On the other hand, even if race is an artificial construct, the fact that racial differentiation exists in a wide variety of cultures and
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