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EN
Nazi archival footage realized in the Warsaw Ghetto has become a staple element of postwar documentary films. The early films relied heavily on editing and voice over commentary in order to lay bare the propagandist angle of the generic material. However, with the passage of time filmmakers started to perceive the fruits of German documentary work as problematic. The article analyzes three films: Jerzy Bossak's 'Requiem for 500 000' (1962), Jolanta Dylewska's 'The Chronicle of the Warsaw Ghetto Uprising According to Marek Edelman' (1993) and '912 Days of the Warsaw Ghetto' (2001) trying to pinpoint the ways of undoing the 'evil eye' of the Nazi footage by palimpsest re-editing, individual testimony and recent digital manipulation of found footage. Furthermore, it postulates a quest for an ethics of seeing pertaining to the specificity of the material.
EN
Three issues have been emphasized in the image of Russia and Russians propagated by national socialists: (1) Roots in German way of thinking, (2) Using stereotypes and treating like objects, (3) Innovation in the way of promulgation. The first aspect concerns a several hundred years old tradition of thinking about Russia in Germany, which assumed presenting it as anti-Germany. These old notions provided Adolf Hitler with material to build a Nazi image of Russia. The second aspect includes analysis of efforts carried out on image of Russia and Russians in the Nazi propaganda, so that it can have specific functions: substantiating of the Third Reich policy, as well as fulfilling psychological needs of the German nation. The description has been brought down to stereotypes of enemy and slave, built as a contrast towards idealized auto stereotype of Germans. The third aspect refers to using scientific achievements (psychology, theory of propaganda) and technical achievements (radio, film) by the Nazi propaganda apparatus.
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