407:"in order to be in a position to give first hand evidence of these things if ever, in the future, there develops a tendency to charge these allegations merely to propaganda," sent out invitations to journalists, photographers, and film makers from both the United States and England. He explained his belief that permanent documentation of the atrocities American forces had uncovered was crucial for many reasons, including the fact that, "We are told that the American soldier does not know what he is fighting for. Now, at least, he will know what he is fighting against."
983:, this miniseries turned out to be the first introduction of the subject to many members of the young generation, including those in Germany, where it had a powerful impact on the desire to learn more. In fact, as the movie points out, the airing of the miniseries in Germany led to new discussions of the event, and ultimately played a direct role on the decision of the government to cancel the
700:"After spending six months doing research, selecting film clips and writing a script, Anker and his team set out to do the 21 interviews that form the backbone of the film ... Anker's goal was to get at least one major player from each film who could address the issues of that film." Those interviewed in the film are:
203:
Director and film-maker Daniel Anker's father was a refugee from
Germany, and many of his relatives, including his great-grandfather, uncle, and cousin were murdered in the Holocaust, but he had not considered making a film on the subject until AMC approached him with the idea. His past projects on
299:
includes scenes from over forty films and newsreels, and interviews with leading scholars, filmmakers, and
Holocaust witnesses, to show how films portrayed Holocaust events, reflected public sentiment, or helped to shape it. It explores "the question of how an industry that sells fantasy has dealt
252:
even before medical teams. In the portion of the film describing the initial screenings of their footage back in the U.S., a portion narrated by film editor
Stanley Frazen and screenwriter Melvin Wald, Wald says that "It was the most horrifying thing I'd ever seen, because the inmates walking in
922:
Third: During the early post-war years, in the aftermath of the films produced by the U.S. Army's Signal Corps Motion
Picture Units following the liberation of the concentration camps, films began to incorporate the atrocities of the Holocaust into films. However, after two 1947 films that dealt
936:
films became all-but-silent during the late 1940s and 1950s on the subject of the
Holocaust. Even the Signal Corps footage "was put away in favor of courting the new post-Nazi German market." During this time, some treatment of the Holocaust did appear in certain films and television programs,
29:
1012:
The film was an audience favorite at more than 50 film festivals around the world, and the subject of numerous discussions, panels, and conferences at theaters, universities, and museums around the world. As of
January 14, 2011, it had received a favorable rating of 88% on the
331:
At the core of the film is an ethical and moral debate about portrayal. Is it even possible to imagine on screen the unimaginable? Should the movie industry even undertake such an endeavor? Ultimately, the film asks hard questions: about the uneasy relationship between
414:
This ambitious documentary provides not only a survey of
Hollywood films about the Holocaust, but also a history of the Holocaust itself, and of the main cultural currents that characterized pre- and postwar America. The result is a frank, complex look at how the
285:(April 4, 2005), Iceland International Film Festival (April 11, 2005), Warsaw International Jewish Film Festival Ha-Motiv Ha-Jehudi (May 23, 2005), and the Hong Kong Jewish Film Festival (November 25, 2007). Its U.S. TV premiere was April 5, 2005.
1003:(1993). As one movie review put it, "Unfortunately, as each remaining survivor dies, most people become more and more reliant on Hollywood's depiction of these events for our memory and understanding of what may be in essence incomprehensible."
378:
In addition to excerpts from
Hollywood films, the documentary includes official military newsreel footage of thirteen studio moguls who traveled to Europe to witness personally the evidence of Nazi atrocities at the invitation of General
213:—a documentary about films and film-makers—and made the decision to use extended clips from Holocaust movies to tell his story. He included interviews with some of the people who worked on the films he chose, including directors
300:
with one of the most horrifying episodes in modern world history, but also how the movies themselves reflect
America's ever-evolving relationship to the events of that era." Among the many films excerpted for the documentary are
1258:
Names in this list that are not included in the film press kit available online are taken directly from the DVD version of the documentary: "Imaginary
Witness: Hollywood and the Holocaust," Koch-Lorber Films DVD #KLF-DV-3171,
374:(both of which were produced before America entered the war) to more oblique statements during the war itself, and then finally leading to an honest portrayal of the full consequences of the Holocaust beginning in the '50s.
848:
In addition to the interviews specifically conducted for the documentary, clips of many other individuals are included within newsreels and television discussions that are included in the film, such as Holocaust survivor
395:, an image that would be etched in the collective memory of a generation of people. But Eisenhower's mission was not accomplished and it would be decades before Hollywood would again depict a concentration camp on screen.
428:
The documentary includes newsclips from newsreels, from footage of liberated camps to events such as a conference in Jerusalem of Holocaust survivors; clips from television productions including one episode of
963:
Four: The fourth phase (and the phase that continues through the present time) -- direct confrontation with the history and events of the Holocaust—was ushered in by the television mini-series
204:
issues including campaign finance reform and racism, convinced the AMC leadership that he was the right person for the project, and they agreed to leave "the specifics of the project to him."
869:
Interweaving the interviews and the film clips, the documentary describes how the history of the depiction of the Holocaust in Hollywood films can be divided into four distinct phases:
288:
The late 2007 release date is attributed to the fact that it was originally made for cable TV, and then only later screened in theaters for a short time before the release of the DVD.
191:
films over a period of sixty years and the impact of the films on public perception and thinking, and vice versa. The film was originally produced for the American cable network,
877:
expressly forbade any unfair depictions of other nations, particularly when economic interests were at stake." The documentary shows that the one exception during this phase was
1032:
wrote that the film "Reduced me to tears ... A powerful documentary that examines how a movie industry that ordinarily traffics in fantasy has dealt with the hideous reality of
1097:
391:
at USC. The message of the trip was clear: go home and bear witness to these atrocities, and for a time newsreels did carry graphic images of bulldozers burying bodies at
336:
and the Holocaust, about the responsibility of filmmakers in their portrayal of history, and about the power of film to affect the way we look at ourselves.
1286:
410:
This documentary has been recognized as a chronicle not only of an important element of film history, but also of world history. As one review put it,
364:
is a documentary which examines how filmmakers reacted to German scapegoating of Jews before, during, and after the war, ranging from the boldness of
356:, and it wasn't until years after the war ended that American filmmakers began offering a realistic, dramatic look at the horrible toll of Hitler's "
739:
975:
that first interested the American Movie Classics in a miniseries about the Holocaust, and the project was given the "green light" one week after
261:
Although the official US film release is recorded as December 25, 2007, it was shown earlier than that at a number of film festivals, including:
1424:
1419:
785:
1429:
1444:
228:
As Anker shows in the film, Hollywood did not only tell stories about the Holocaust, it actually helped to document the war. "Directors
1117:
1249:"Days of Remembrance: A Department of Defense Guide for Annual Commemorative Observances of the Holocaust, Second Edition, March 1989.
1211:
919:"dared to directly address the Final Solution," often because these movies "tended to fall below the radar of the Production Code."
890:
Second: films made during the years of the war, most of which focused on the war in the Pacific. Films that dealt directly with
1414:
431:
348:
The American film industry took it upon itself to act as a cheerleader for United States and Allied military interests during
1434:
278:
1139:
248:' motion picture unit. So important did the US government consider their work that after liberation, film crews went into
938:
513:
266:
1184:
270:
253:
their black and white uniforms were like ghosts," and Frazen admits that he had to leave the projection room to vomit.
1264:
873:
First: Hollywood's reluctance to critique the rise of Nazism during the 1930s, during a time when its "self-policing
679:
282:
1234:
548:
392:
441:; some excerpts from films not directly depicting the Holocaust but related to its memory, such as the miniseries
1283:
435:, in which a woman is reunited with her sister, who she thought had died in the Holocaust; documentaries such as
943:
874:
658:
1439:
1026:, which called the film a "devastating, impressively reflective documentary." The reviewer for New York's
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was produced based on the promise that "audiences would not be subjected to any Nazi horrors"; and when
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404:
993:
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1409:
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387:"It felt to us like a seminal moment," says Anker who uncovered documents in the personal files of
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was aired. Although criticized by some organizations as reducing the atrocity to the level of
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1045:
2004 Special Jury Award, Documentary Research, Fort Lauderdale International Film Festival
8:
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which was due to expire in 1979. Among the major Hollywood films that would follow were
969:
in 1978. The documentary points out that it was the success of the television miniseries
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According to Anker, he was inspired by the documentary technique employed in the film
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the sponsor—the American Gas Company—required that the word "gas" never be mentioned.
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2004 Audience Award, Best Documentary, Hamptons International Film Festival
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is a 2004 documentary film directed by Daniel Anker and narrated by
910:
28:
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both influences and is in turn influenced by the culture at large.
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906:
352:, but Hollywood was initially reluctant to directly condemn Nazi
1054:
Award: Best Documentary, Festival de Cinema Judaico de SĂŁo Paulo
1033:
800:, Director (at 96, the oldest person interviewed in the film)
1051:
Special Jury Award, Florida International Film Festival
457:, an example of a World War II film depicting the
1140:"Imaginary Witness: Hollywood and the Holocaust."
1020:Critical praise for the documentary included the
1396:
1324:
1322:
1124:NewEnglandFilm.com, accessed January 14, 2011.
362:Imaginary Witness: Hollywood and the Holocaust
176:Imaginary Witness: Hollywood and the Holocaust
22:Imaginary Witness: Hollywood and the Holocaust
327:The movie website includes this description:
1344:AnkerProductions.com, Awards and Screenings.
909:. Only some of the so-called lower-budget "
1319:
1381:Audio file, NPR film review, April 5, 2005
1142:PopMatters.com, accessed January 14, 2011.
901:usually focused on the certain victory of
447:, which paved the way for the miniseries,
27:
1338:
1336:
1036:'s genocidal campaign against the Jews."
139: (Official U.S. theater release date)
399:Eisenhower, who wrote to Chief of Staff
340:Movie reviewer Mark Deming, writing for
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1177:
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937:although with strict restrictions: the
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766:, Film producer and Holocaust survivor
1425:American documentary television films
1420:Documentary films about the Holocaust
1235:Presskit from Shadowdistribution.com.
1134:
1132:
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1109:
1107:
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279:Cleveland International Film Festival
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1230:
1228:
1226:
1224:
1168:
703:
478:
128: (U.S. cable television release)
117: (First Film Festival screening)
1430:The Holocaust and the United States
1240:
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267:Newport International Film Festival
183:that examines the treatment of the
13:
1445:English-language documentary films
1303:Museum of Broadcast Communications
1127:
1102:
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953:produced a TV version of the play
271:San Francisco Jewish Film Festival
14:
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857:, former religious leader of the
423:
283:Thessaloniki Documentary Festival
1308:
1296:
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403:that he had personally visited
1202:
1156:
1145:
1098:New York Times Review Summary.
730:, Actor and Holocaust survivor
58:Gene Hackman (narrator: voice)
1:
1415:Documentary films about films
1070:
923:directly with anti-semitism,
695:
198:
1435:2000s English-language films
1237:, accessed January 16, 2011.
1218:, accessed January 14, 2011.
864:
7:
1165:Accessed January 15, 2011.]
1058:
1007:
131:December 25, 2007
66:Tom Hurwitz, Nancy Shreiber
10:
1461:
1293:Accessed January 15, 2011.
580:teleplay and feature film)
438:Kitty: Return to Auschwitz
405:Ohrdruf concentration camp
291:
256:
50:Daniel Anker, Ellin Baumel
1305:Accessed January 15, 2011
1039:
500:Confessions of a Nazi Spy
367:Confessions of a Nazi Spy
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146:
100:
86:
78:
70:
62:
54:
46:
38:
33:Theatrical release poster
26:
21:
1152:IMDB.com, Release dates.
894:, such as the 1944 film
334:American popular culture
1138:Nelson, Michael Curtis.
1065:List of Holocaust films
944:The Diary of Anne Frank
514:The Diary of Anne Frank
315:The Diary of Anne Frank
193:American Movie Classics
120:April 5, 2005
95:Anker Productions, Inc.
1185:"AnkerProductions.com"
985:statute of limitations
421:
397:
376:
338:
275:Adelaide Film Festival
1284:TVGudide.com, Review.
1209:The Jewish Museum.org
1115:"Re-Visiting History.
956:Judgment at Nuremberg
932:Gentleman's Agreement
913:" like the 1944 film
571:Judgment at Nuremberg
521:Gentleman's Agreement
412:
385:
346:
329:
277:(February 21, 2005),
263:Tribeca Film Festival
221:and actors including
109:May 6, 2004
1440:2000s American films
939:1959 film adaptation
1315:RottenTomatoes.com.
822:George Stevens, Jr.
806:, Director/Producer
680:War and Remembrance
645:Singing in the Dark
250:concentration camps
244:all worked for the
1289:2012-05-31 at the
1214:2011-09-28 at the
1120:2011-07-14 at the
897:Tomorrow the World
884:The Great Dictator
666:Tomorrow the World
659:To Be or Not to Be
528:The Great Dictator
459:War in the Pacific
309:The Great Dictator
281:(March 15, 2005),
16:2004 American film
1371:Imaginary Witness
1163:Film-forward.com.
916:None Shall Escape
845:
844:
716:Michael Berenbaum
692:
691:
603:None Shall Escape
549:Hitler's Children
454:Objective, Burma!
432:This Is Your Life
297:Imaginary Witness
273:(July 27, 2004),
269:(June 10, 2004),
246:Army Signal Corps
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1187:. Archived from
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1125:
1113:Maxwell, Andrea.
1111:
1100:
1095:
1086:
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1017:review website.
1000:Schindler's List
859:Berlin Synagogue
804:Steven Spielberg
788:, Film historian
782:, Actor/Director
754:, Film historian
704:
683:(ABC miniseries)
631:Schindler's List
596:The Mortal Storm
585:I Married a Nazi
566:(NBC miniseries)
535:Harold and Maude
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372:The Mortal Storm
321:Schindler's List
303:The Mortal Storm
219:Steven Spielberg
210:Visions of Light
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1015:Rotten Tomatoes
1010:
994:Sophie's Choice
879:Charlie Chaplin
875:Production Code
867:
846:
798:Vincent Sherman
792:Thane Rosenbaum
752:Annette Insdorf
698:
693:
652:Sophie's Choice
556:Hitler's Madman
542:Heroes for Sale
473:Holocaust films
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401:George Marshall
342:All Movie Guide
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265:(May 6, 2004),
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881:'s 1940 film,
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358:final solution
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764:Branko Lustig
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