Frankfurt, Germany - Amsterdam has long been a place of education and remembrance of Anne Frank. But in her hometown of Frankfurt, Germany, Frank's life and death for years have been marked only with a plaque on one of her two former homes and an elementary school renamed in her honor. Annual ceremonies were held on her birthday from 1957 to 1970, but until now there has never been an ambitious permanent site dedicated to telling the story of one of the most famous and eloquent victims of the Holocaust.
There were plenty of words last Sunday morning on East 92nd Street, but not the sort The Jewish Museum had hoped for when it planned a provocative exhibition of contemporary art meant to rekindle dialogue about Holocaust memory.
About 100 yeshiva students, politicians, Holocaust survivors and other community members, most of them from Brooklyn, directed chants of “Shame on You” and “Don’t go in” toward anyone who approached the museum’s front doors at the 10 a.m. opening of “Mirroring Evil: Nazi Imagery/Recent Art.”
A month after controversy engulfed The Jewish Museum’s upcoming exhibition of Nazi imagery in contemporary art, the real thing is now on display in a Chelsea gallery.
Scheduling Leni Riefenstahl’s first New York solo show of photographs from “Olympia,” her film about the 1936 Berlin Games, to coincide with the Salt Lake Olympic Games, gallery owners Marianne Boesky and Marla Hamburg Kennedy are now scrambling to soften the impact of their exhibition of Hitler’s favorite filmmaker.
The day after Richard Pryor died, longing to be transported comedically, I went to see Sarah Silverman's concert film "Jesus is Magic." I expected to be entertained, nothing more. Instead I was overwhelmed, not just by the sharpness of Silverman's delivery but by the surprise of her material. And like Jon Stewart of "The Daily Show" (who uses a Jewish sensibility to expose the emptiness of much of our social discourse) Silverman puts her Jewishness front and center as she analyzes American life today.
Billy Wilder used to joke about his former compatriots in Austria. He would say, “The Austrians are a marvelous people: they have convinced the whole world that Beethoven was Austrian and Hitler was German.” Axel Corti, a Paris-born, half-Italian, half-Austrian filmmaker, would have undoubtedly appreciated this jibe. Corti, who died of leukemia in 1993, spent his entire career as a film, theater and radio director putting the Austrian-Jewish connection under the microscope of his art with scathing results.
The 15 families belonging to the Norwich Jewish Center, a dwindling, mostly elderly congregation in central New York, expected to celebrate Passover with a community seder inside their synagogue, as they do every year.
Award-winning film ‘The White Ribbon’ may distort picture
of how Nazis rose to power, new scholarship asserts.
Though Michael Haneke’s recently released film “The White Ribbon,” which won the prestigious Palme d’Or prize at the Cannes Film Festival, focuses on one small German village, in 1914, the director has made it clear that the issues it raises are much larger. “Why do people follow an ideology?” the director asks in the film’s official press release. “German fascism is the best-known example of ideological delusion,” he adds, and while his film is not an explanation of German fascism per se, he certainly encourages viewers to ponder the relationship. In the opening scene, the narrator even says that he hopes the story about to unfold might “clarify things that happened later in our country.”
Tuesday, June 16th, 2009
In light of the controversy over Manis Friedman’s remarks about the Jewish way to wage war against Arabs, here’s something from Chabad.org about how the Lubavitcher rebbe approached the same question, years ago. It was originally posted during Israel’s war in Gaza.
(Click HERE for original page)
Should I Pray For The Death Of Terrorists?
By Tzvi Freeman