Neglected Holocaust

Online resources

• Sinagoga Maribor Center judovske kulturne dediščine (Maribor Synagogue Centre of Jewish Cultural Heritage)
• Pokrajinski muzej Murska Sobota (Murska Sobota regional museum)
• Inštitut za narodnostna vprašanja, projekt: Judje in antisemitizem v Sloveniji (Institute for ethnic studies; project Jews and anti-Semitism in Slovenia)
• Centropa
• Yad Vashem, World center for Holocaust research, education, documentation and commemoration
• United States Holocaust Memorial Museum
• Stiftung Denkmal für the ermordeten Juden Europas
• Judisches Mueseum Berlin
• The Holocaust Centre, United Kingdom
• USC Shoah Foundation Institute

The story of Anne Frank

• Anne Frank House
• Rare footage, http://www.youtube.com/watch?v=qyFW7GMqcdI&feature=related

The Holocaust in literature, cinema, art and music

General info: http://en.wikipedia.org/wiki/The_Holocaust_in_popular_culture

Literature

• Primo Levi, The Drowned and the Saved, Vintage International, New York, 1989.
• U potrazi za utočištem, Jugoslovenski Jevreji u bekstvu od holokausta 1941-1945, Beograd, 1998.
• Beata Lazar, Mirjana Gašpar, Židje v Lendavi, Lendava, 1997.
• Roman, Savnik, Židje v Jugoslaviji, Ljubljana, 1926.
• Zmaga Kumer, Židje v slovenski ljudski pesmi, Ljubljana, 1997.
• Borut Brumen, Na robu zgodovine in spomina, Murska Sobota, 1995.
• Rudi, Čačinovič, “Pot prekmurskih Židov do holokavsta,” in: Časi preizkušenj – prispevki za zgodovino Prekmurja, Murska Sobota, 1998.
• Natalija Černjak, Marpurgo, Mariborski Judje v srednjem veku, BA thesis, Pedagoška fakulteta Univerze v Mariboru, Maribor, 1998.
• Dobaj, Tadeja, “‘Če dovoliš, da ti reče Jud dober dan, te je že opeharil.’ Odnos Slovencev do Judov v slovenski publicistiki v letih 1933 – 1941,” BA thesis, Maribor 2003.
• Mirjana Gašpar, Beata Lazar, Židje v Lendavi, Lendava, 1997.
• Damjan Hančič, Renato Podpersič, “Nacionalsocialistično in komunistično preganjanje Judov na Slovenskem,” in: Jože Dežman (ed.), Hanzi Filipič (ed.), Hitlerjeva dolga senca: nacionalsocialistično državnoteroristično in rasistično preganjanje prebivalcev Slovenije in njegove posledice v Titovi Jugoslaviji. Celovec, Mohorjeva, 2007, pp. 175-190.
• Damjan Hančič, Renato Podbersič, “Totalitarian regimes in Slovenia in the 20th century,” in: Peter Jambrek (ed.), Crimes committed by totalitarian regimes: reports and proceedings of the 8 April European Public Hearing on Crimes Committed by Totalitarian Regimes. Ljubljana, Slovenian Presidency of the Council of the European Union, 2008, str. 39-60.
• Mihaela Hudelja, “Zakaj se Judje niso ustalili v slovenskem prostoru. Stereotipi o Judih na Slovenskem in Ahasver,” in: Vsakdanjost rasizmov, Časopis za kritiko znanosti, 23 (179), Ljubljana, 1996.
• Mihaela Hudelja, “Prisotnost židovske etnične manjšine v Prekmurju,” in: Vzporednice slovenske in hrvaške etnologije, 1991.
• Lenart Kodre, Položaj in vloga judovske skupnosti v slovenski družbi in prostoru, Ljubljana 2005.
• Lev Kreft, Matija Ravitz, Mladen A. Švarc, “Judje v Sloveniji,” in: Razgledi, 19, Ljubljana, 1998.
• Oto Luthar, Hannah Starman, Irena Šumi. Der israelisch-palästinensische Konflikt im Spiegel der Printmedien : Slowenien. Ost-West Gegeninf, Graz, 1989, 2005.
• Wolf Moskovich, Oto Luthar, Irena Šumi (eds.), Jews and Slavs, Jews and Antisemitism in the Balkans, vol. 12, Jerusalem, Center for Slavic Languages and Literatures of the Hebrew University od Jerusalem, ZRC, SAZU, Ljubljana, 2004.
• Ivo Orešnik, Jože Janež, “Trnova pot židovskega ljudstva,” in: Vestnik, no. 23, Murska Sobota, 1984.
• Andrej Pančur, “Teritorialni obseg judovskih verskih občin na ozemlju sedanje Slovenije pred drugo svetovno vojno,” Prispevki za novejšo zgodovino, 2008, 48 (1), pp. 43-54.
• Andrej Pančur, “Judje s Spodnje Štajerske in Gorenjske kot žrtve holokavsta v Evropi,” in: Nevenka Troha (ed.), Mojca Šorn (ed.), Bojan Balkovec (ed.), Evropski vplivi na slovensko družbo, (Zbirka Zgodovinskega časopisa, 35), Ljubljana, Zveza zgodovinskih društev Slovenije, 2008, pp. 367-381.
• Janez Peršič, Židje in kreditno poslovanje v srednjeveškem Piranu, Ljubljana, 1999.
• Barbara Pintarič, “Židje v Prekmurju,” BA thesis, Pedagoška fakulteta Univerze v Mariboru, Maribor, 2000.
• Janko Kessler Podgorjanski, Judje na Kranjskem, Ljubljana, 1906.
• Ivan Puc, Dejan Steinbuch, Silvester Šurla, “Judje pod Slovenci,” Mag, no. 34, Ljubljana, 1997.
• Hannah Starman, Irena Šumi. “Slowenien,” in: Wolfgang Benz (ed.), Handbuch des Antisemitismus: Judenfeindschaft in Geschichte und Gegenwart, Band 1, Länder und Regionen, München, K. G. Saur, 2008, 2008, pp. 335-337.
• Irena Šumi, Kultura, etničnost, mejnost, Ljubljana, 2000.
• Irena, Šumi, Hannah Starman. “Guest editors’ notes,” Anthropology of East Europe review, 2004, 22, (2), p. 4.
• Marko Štepec, “Slovensko protijudovstvo v 19. stoletju (I.),” in: Svobodna misel, no. 21, Ljubljana, 1997.
• Marko Štepec, “Slovensko protijudovstvo (II.),” in: Svobodna misel, no. 22, Ljubljana, 1997.
• Marko Štepec, “Srečanja z Judi,” in: Borec, no. 542-543, Ljubljana, 1995.
• Vladimir Travner, “Mariborski ghetto,” Kronika slovenskih mest, Ljubljana, 1935.
• Gorazd Utenkar, “Versko pisana Slovenija, Judje – Žid je žaljivka iz 19. stoletja,” Delo, Ljubljana, 2002.
• Vlado, Valenčič, Židje v preteklosti Ljubljane, Ljubljana, 1992.
• Zgodovina v šoli, Časopis Urada za šolstvo RS, Pouk o Holokaustu.
• Miriam Steiner-Aviezer, Vojak z zlatimi gumbi, 1964;
• Vilma Vukelić, Tragovi prošlosti (Memoari), Nakladni zavod Matice Hrvatske, Zagreb 1994.

Music

Pink Floyd

In several albums, British band the Pink Floyd explicitly refers to the WWII (The Final Cut, The Wall. In The Wall (1979) which was also made into a film, there are several cases explicitly referenced to the Nazi regime and the Holocaust (and, admittedly, feature as an depiction of any other fascist regime).

The track “Waiting for the worms,” for instance, has character, Pink, has become a neo-Nazi, and the head of a fascist group. In the song the main character is singing/saying the lyrics through a megaphone: “Waiting! For the final solution to strengthen the strain!”

Just as explicit references can be found in “In the flesh,” with the main character singing:

Are there any queers in the theatre tonight? Get them up against the wall! There's one in the spotlight, he don't look right to me, Get him up against the wall! That one looks Jewish! And that one's a coon! Who let all of this riff-raff into the room? There's one smoking a joint, And another with spots! If I had my way, I'd have all of you shot!

Cinema

The cinema took only a few years to start to reflect upon the Holocaust, particularly in Eastern Europe. Early East European films about the Holocaust include Auschwitz survivor Wanda Jakubowska’s semi-documentary The Last Stage (Ostatni etap, Poland, 1947) and Alfréd Radok’s The Long Journey (Daleká cesta, Czechoslovakia, 1948). Later on films by Jiří Weiss, Sweet Light in a Dark Room (Romeo, Juliet a tma, Czechoslovakia, 1959) and Andrzej Wajda Samson (Poland, 1961) opened a new chapter in dealing with the legacy of Holocaust in socialism.

The topic featured also in western cinema, of which three cases should be emphasised. The first, Night and Fog, for its straightforwardness and the other, a more popcultural dealing with the rise of Nazism for presenting the subtlety with which a racist, violent ideology can become part of common parlance without realising it. And the Spielberg’s film, for bringing the topic again into the public area.

Nuit et Brouillard (Night and Fog), Alain Resnais, 1955 (in three parts)

The Nazi “Nacht und Nebel” Hitler’s directive was the basis for elimination of political activists and resistance fighters in the Nazi-occupied territories, but was later modified to include any person taken into custody in the occupied territories. The people, marked NN in Nazi documentation were vanishing without a trace.

In 1955, French director Alain Resnais made a film, using the same denomination, about the Holocaust where he edited together footage and photographs from Nazi concentration camps.

Cabaret, director Bob Fosse, 1972

The film Cabaret shows the lives and fates of several characters in the interwar-period Germany. Not explicitly dealing with the war or the Holocaust (the story ends before the war begins), it nevertheless vividly depicts the rise of the mentality that eventually led to the war and the Holocaust.

The song “Tomorrow belongs to me” and the film scene eloquently convey the atmosphere where hatred could reign, where opposition became “unreasonable.”

Schindler's List, Steven Spielberg, 1993.

Film is a story about Oskar Schindler, a German businessman who saved the lives of more than a thousand, mostly Polish, Jewish refugees during the Holocaust by employing them in his factories.