Abstract
This book’s Conclusion contrasts twenty-first-century messianic films, which celebrate national heroes in hagiographies, with those that stress moral ambiguity, some of which are couched in styles that do not adhere to established cinematic trends. Examples of the former are Erik Poppe’s Kongens nei (2017), Joachim Rønning and Espen Sandberg’s Max Manus: Man of War (2008) or Nikolay Lebedev’s The Star (2002), while the latter include Ole Christian Madsen’s Flame and Citron (2008) and Sergei Loznitsa’s In the Fog (2012). The chapter concludes with a study of the gender dynamics of Paul Verhoeven’s amalgamation of resistance and the Holocaust in Black Book (Zwartboek, 2006). Levi’s ‘grey zones’ illuminate an analysis that reveals contemporary divisions that can be traced to the different sides of the conflict.
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Notes
- 1.
Norway paid compensation for the property seized from Jews in 1998, but issued the formal apology for its role in the deportations in 2012. See ‘Norway Apologises for Deporting Jews during Holocaust’, BBC, 27 January 2012 (http://www.bbc.co.uk/news/world-europe-16761558).
- 2.
See Guy Lodge, ‘Interview: “Flame & Citron” director Ole Christian Madsen’, In Contention, 7 August 2009 (http://www.incontention.com/2009/08/07/interview-flame-citron-director-ole-christian-madsen/).
- 3.
Bjerg , Lenz and Thorstensten , Introduction, in Historicizing Uses of the Past: Scandinavian Perspectives on History Culture, Historical Consciousness, and Didactics of History Related to World War II, ed. by Helle Bjerg, Claudia Lenz and Erik Thorstensen (Bielefeld: Verlag, 2011), pp. 7–26 (pp. 11, 10).
- 4.
Hake , Screen Nazis: Cinema, History, and Democracy (Madison: University of Wisconsin Press, 2012), pp. 190, 191.
- 5.
The successful Operation Bagration, codenamed after the Georgian Prince Pyotr Bagration, general of the Imperial Russian Army killed at the Battle of Borodino (1812), was part of the Belorussian Strategic Offensive against German forces. It took place between the third anniversary of Barbarossa, 22 June, and 19 August 1944.
- 6.
Hake , Screen Nazis, p. 222.
- 7.
Hake , Screen Nazis, p. 213.
- 8.
Dargis , ‘Bedding That Nice Nazi, and Other Wartime Perils’, New York Times , 4 April 200 (http://www.nytimes.com/2007/04/04/movies/04blac.html?mcubz=1).
- 9.
According to Hake , Verhoeven closely follows the narrative model established by two recent Dutch World War II films, Ben Sombogaart’s Twin (De Tweeling, 2002), which approaches Dutch-German relations through the motif of doubling, and Martin Koolhoven’s Winter in Wartime (Oorlogswinter, 2008), which takes conflicting family loyalties as an entry point into the self-understanding of a country divided between resistance and collaboration. See Screen Nazis, p. 215.
- 10.
Hunter , ‘War Is Hell, and So Is “Black Book”’, Washington Post, 20 April 2007 (http://www.washingtonpost.com/wp-dyn/content/article/2007/04/19/AR2007041901815.html).
- 11.
Olin , ‘Lanzmann’s Shoah and the Topography of the Holocaust Film’, Representations, 57 (Winter, 1997), 1–23 (p. 8).
- 12.
Taylor , ‘Guerrillas of Orange’, LA Weekly, 4 April 2007 (http://www.laweekly.com/film/guerrillas-of-orange-2148217).
- 13.
Horowitz , ‘The Gender of Good and Evil: Women and Holocaust Memory’, in Gray Zones: Ambiguity and Compromise in the Holocaust and its Aftermath, ed. by Jonathan Petropoulos and John K. Roth (New York: Berghahn Books, 2006), pp. 165, 173.
- 14.
Levi , The Drowned and the Saved (London: Abacus, 1989), pp. 32–33.
- 15.
Levi , The Drowned and the Saved , p. 170.
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Camino, M. (2018). Conclusion: Chronotopes and Grey Zones. In: Memories of Resistance and the Holocaust on Film. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-49969-1_8
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