Interesting Facts About The Holocaust
- (Interesting Fact) During the days in which exploration of the states was prominent, the lechuguila species created a deadly obstacle for those who were exploring the southwest by ways of horses, because when riding, the leaves which were very sharp would puncture the horses’ legs.
- (Interesting Fact(s)) It is estimated that enough straw is incinerated each year in the U.S. to build 5 million 2000 square foot homes.
- (Interesting Fact) A reference to the fire side of Hailfire Peaks was made by Gobi in Banjo-Kazooie (when you meet him at Click Clock Woods).
- Oxford Dictionary for Writers & Editors
- Qatsi films: “It’s not that we use technology, we live technology. Technology has become as ubiquitous as the air we breathe, so we are no longer conscious of its presence.
- The mass murder of Jews under the German Nazi regime during the period 1941–45. More than 6 million European Jews, as well as members of other persecuted groups, such as gypsies and homosexuals, were murdered at concentration camps such as Auschwitz
- Destruction or slaughter on a mass scale, esp. caused by fire or nuclear war
- A Jewish sacrificial offering that is burned completely on an altar
- an act of mass destruction and loss of life (especially in war or by fire); “a nuclear holocaust”
- the mass murder of Jews under the German Nazi regime from 1941 until 1945
- Holocaust is a progressive heavy metal band based in Edinburgh, Scotland. Founded in 1977 while still at high school, the original lineup (featuring guitarists John Mortimer and Ed Dudley, vocalist Gary Lettice, bassist Robin Begg and drummer Paul Collins) became part of the New Wave of British
interesting facts about the holocaust – The Greatest
In 1941 Piet, a young Dutch boy from Sluis, gets the assignment of a lifetime: He must skate along the frozen canals of the Netherlands and across the Belgian border, in order to guide two neighborhood children to their aunt’s house in Brugge, where the children will remain for the duration of World War II. Their father has been taken by German soldiers, and the children are no longer safe in Sluis — but the journey with Piet, past soldiers and enemies, is fraught with danger.
Along the treacherous path to Belgium the three children skate using every bit of speed, courage, and strength they can muster. All the time they try to appear like innocent schoolchildren simply out for a skate, for if the German soldiers discover their escape plan, the children will be in grave trouble. During the journey Piet thinks about his hero, Pim Mulier — the first person to ever skate the Elfstedentocht, the famous and prestigious Eleven Towns Race that takes place in his country. For years Piet has dreamed of proving that he is a skater as brave and strong as Pim Mulier — but he had never imagined that his test would fall under such dangerous circumstances.
Louise Borden’s moving text captures all the tension, excitement, and fear that comes with Piet’s mission, while Niki Daly’s evocative illustrations bring the children and their perilous journey into vivid focus.
odard, Mieville & Lynne Sachs: Movie-making and the Stubborn, Unruly Galaxy of Childhood
Tonight Lynne Sachs will discuss the way that “France/tour…” influenced her own work as she reflects on the presence of childhood in her twenty-year film career. Beginning in her early twenties when the ambiguity of femininity seemed daunting and problematic to more recent years when motherhood has given her quick access to the conundrums of youth, Sachs, like Godard and Melville, ponders her relationship as an artist to this unavoidable eighteen year odyssey. Sachs will screen Photograph of Wind (3 min., 2001), Atalanta: 32 Years Later (5 min. 2006), and The Last Happy Day (38 min.) in their entirety along with brief scenes from The House of Science (1991) and Wind in Our Hair (2010).
France/Tour/Detour/Deux Enfants by Jean Luc Godard and Ann Marie Mieville
(excerpt from 12 part TV series, 1977, France)
Godard and Mieville take a detour through the everyday lives of two children in contemporary France. Sachs will present excerpts from the series.
Photograph of Wind by Lynne Sachs
(4 min.,16mm, b&w and color, 2001)
“My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather – like the wind – something I feel tenderly brushing across my cheek.” (Lynne Sachs)
“Sachs suspends in time a single moment of her daughter.” Fred Camper, Chicago Reader
Atalanta: 32 Years Later by Lynne Sachs
(5 min. color sound, 16mm to video, 2006)
A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance.
“Very gentle and evocative of foreign feelings.” George Kuchar
The Last Happy Day by Lynne Sachs
( 38 min. 2009)
The Last Happy Day is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews, and a children’s performance to create an intimate meditation on the destructive power of war.
“A fascinating, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.” George Robinson, The Jewish Week
The House of Science: A Museum of False Facts
(30 min., 16mm,1991)
“Throughout The House of Science an image of a woman, her brain revealed, is a leitmotif. It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women, who may feel themselves moving between the territories of the film’s title –house, science, and museum, or private, public and idealized space — without wholly inhabiting any of them. This film explores society’s representation and conceptualization of women through home movies, personal reminiscences, staged scenes, found footage and voice. Sachs’ personal memories recall the sense of her body being divided, whether into sexual and functional territories, or ‘the body of the body’ and ‘the body of the mind.’” (Kathy Geritz, Pacific Film Archive)
Wind in Our Hair/Con viento en el pelo
(16mm, Super 8 and digital on video, English and Spanish, 2010)
“Inspired by the writings of Julio Cortazar, whose work not only influenced a generation of Latin American writers but film directors such as Antonioni and Godard, Lynne Sachs’ Wind in Our Hair/Con viento en el pelo is an experimental narrative that explores the interior and exterior worlds of four early-teens, and how through play they come to discover themselves and their world. “Freedom takes us by the hand–it seizes the whole of our bodies,” a young narrator describes as they head towards the tracks. This is their kingdom, a place where–dawning fanciful masks, feather boas, and colorful scarves — the girls pose as statues and perform for
The trip to Poland included a visit to Auschwitz-Birkenau, and, after a certain amount of consideration, I decided that I would take photographs of the site. I didn’t want to take snapshots of “So-and-so at Auschwitz” or randomly shoot everything I saw. I wanted to try and capture something of the mood and atmosphere as I saw it, as well as writing about it (I tend to journal a lot when I travel). But I was a little worried I’d look odd taking photographs at a holocaust sight: weird, morbid, inconsiderate, or something, but I figured I could live with that. However, it turned out that I (and Gwynaeth) appeared to be in the minority in thinking about the way we wanted to take photos. The “rules” for the Auschwitz site allows you to take photographs outside, but not inside the buildings and exhibitions, and we kept to this. Even if the rule hadn’t existed, I don’t think we would have wanted to take photos inside the exhibitions.
There were (inevitably) a lot of tour groups visiting the site, which caused certain "traffic" problems in the exhibitions that are set up within the barracks at the Auschwitz I site (the ‘museum’ is situated at Auschwitz I, whilst Auschwitz-Birkenau has been left as-is for you to explore on one’s own), and a lot of people on these tours were taking photos inside the exhibition, flashes going off all around, mobile phones waving in the air. It was odd, and actually a little irritating. We were left wondering why people wanted these photos, which didn’t seem to be being composed with much care or consideration, and whether they were just taking them because the commonness of digital photography meant that they could. I’m not trying to say that there’s something inherently ‘less thoughtful’ about digital photography (after all, I was there with my digital), or that my photography is better than theirs because I went all intellectual on it, but I think there may be something in the immediacy of digital, and in the fact that you can take large numbers of photos without necessarily having the expense of printing them all in order to view them that may encourage people to take large numbers of photographs in this way. I have no conclusions to offer, but it interested me, as did the fact that the tour guides made no effort to prevent their groups from ‘breaking the rules’ and taking photos inside the exhitions.
Anyway, this was taken at the Auschwitz II Birkenau camp – the train tracks inside the camp, leading up to the infamous tower and arch. It’s very hard to take any photos at both sites without including people in your composition. These guys were there with a video camera and a rather hefty tripod, filming, and yet seemingly unaware that although a lot of people had waited for them to finish shooting at the spot from which this was taken as they walked back along the train tracks.
interesting facts about the holocaust
Months later the British disinterred, re-examined, and cremated his body. Yet in 1946 MI6’s most talented, if treacherous, agent, Kim Philby, was still not convinced that the story of Himmler’s death made any sense at all. Philby realized that a man of Himmler’s organizational genius, a plotter of great intricacy and sophistication who recognized Germany’s inevitable defeat as early as 1943, was unlikely to have just blundered into the arms of the Allies. What really happened?
Hugh Thomas set out to answer Philby’s question and uncovered a maze of corruption, high finance, political gambles, and international intrigue. The Strange Death of Heinrich Himmler unearths not just Himmler’s grave, but reveals secrets that have long remained buried, and shadowy figures who would rather stay that way.
On May 23, 1945, SS leader Heinrich Himmler committed suicide while in British custody, thus escaping trial and execution for war crimes. Or did he? British surgeon and forensics expert Hugh Thomas looks at the evidence and offers a surprising–and controversial–scenario.
Available evidence is sketchy, and it doesn’t help that the British government is keeping the files on the Himmler case sealed until 2045. Still, Thomas suggests, on the strength of forensic evidence and eyewitness testimony, that Himmler’s presumed corpse was in fact that of another person. And as for Himmler? It is unlikely, Thomas believes, that Himmler could have fallen by accident into Allied hands; Thomas suggests that he may have gone underground, aided by parties unknown, to direct the SS in its postwar guise, the stuff of Frederick Forsyth’s novel, The Odessa File. Thomas’s argument is plausible and sometimes persuasive, especially when he discusses the negotiations Himmler’s agents conducted with the Allies, well before the war’s end, offering to provide a Nazi buffer state against the Soviet Union in exchange for clemency. Highly speculative but well reasoned, Thomas’s book should intrigue readers inclined to question received wisdom. –Gregory McNamee