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

1. ! ! ! ! ! ! 2.

3. ! ! ! ! ! ! 4.

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).

2

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.