1. Chambres à  gaz

    00:47

    from David Noir / Added

    74.4K Plays / / 9 Comments

    CHAMBRES À GAZ - Microfilms - Volume 2 Conception / Réalisation DAVID NOIR Interprétation DR DIVA, MATHIEU HUOT, JULIEN, DIDIER JULIUS, MÉLANIE LE GRAND, DAVID NOIR, SOPHIE RENAULD, ANY TINGAY Cadre JÉRÔME ALLART Post production video GUILLAUME JUNOT LE GÉNÉRATEUR / DAVID NOIR PRODUCTIONS 2013 http://davidnoir.com

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    • Trailer: Jealous of the Birds

      02:14

      from Orlean Films / Added

      10.1K Plays / / 13 Comments

      Jealous of the Birds is a feature length documentary from first-time director, Jordan Bahat. The film explores a community of Holocaust Survivors who remained in Frankfurt, Germany after World War II. The reconstruction of a Jewish society in post-War Germany was much derided by Jewish organizations the world over. Nonetheless, about 15,000 Survivors remained. The film focuses on this society, highlighting man's ability to rebuild rather than destroy. The film provides an important contribution to the pantheon of Holocaust related film. Specifically, Jealous of the Birds tells the story of what happened next -- through the eyes of a taboo community of Survivors, their children, and others. Jealous of the Birds features an original score by Hans Zimmer and Aleksey Igudesman. For more information, visit www.jealousofthebirds.com

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      • French Kiss

        06:28

        from Saverio Luzzo / Added

        7,262 Plays / / 5 Comments

        A surrelist tale about LOVE, DIVERSITY and HUMAN EVIL AWARD WINNER: - 29 November 2009: Best Italian Indipendent Videoclip of the Year at PIVI ( Italian Independent Videoclip Award) - 27 November 2010: Best Italian Indipendent Videoclip SIAE AWARD (Italian Author and Publishing Society) In memory of Armida Bruno Written and Directed by: Saverio Luzzo a Visonary madness factory production a NOPOP and Soviet Studio co-production starring: Linda Morselli also starring: Angelika Kinga Czuryszkiewicz special guests Riaffiora: -Andrea D'Amato -Matteo Marenduzzo -Paolo Trolese dop: Mirko Saydo Mimi colorist: Vincenzo Catizzone scenography: Jacopo Rondinelli costumes: Rossana Mazza special effects: Giulio Fiorito make-up: July Piearcey executive producer: Daniele Gioia photography assistant: Jacopo Loiodice, Rocco Ciriffino set photographer: Francesco Prandoni thanks to: Bosco in città(Milano) Fede Fedina Bianchi Mario Riso Francesco Lionetti BAND: http://www.riaffiora.it

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        • Death Fugue B50.02-L19.20

          03:15

          from Roland Quelven / Added

          Auschwitz-Birkenau coordinates 50°02'N - 19°10'E. "Dawn came on us like a betrayer; it seemed as though the new sun rose as an ally of our enemies to assist in our destruction.” Primo levi. Voice / Paul Celan reading Todesfuge. Music / Tania Giannouli Video / Roland Quelven SFC _ Shoah Film Collection http://sfc.engad.org/video/?p=399 Arte Alter Collection http://www.kaosart.org/artealter-colection/collection/Quelven_Roland.htm

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          • LE LIVRE DES MORTS - Extract n°02

            01:08

            from Escalle Alain / Added

            "In the neighborhood in demolition of a city from Eastern, Mikhaïl struggling with his demons, undertakes a last trip guided by ghosts trapped in a book. Images veiled from the past and visions bruised are gradually revealed". "Une ville dans un pays de l’Est. Dans le quartier en démolition d’une ville d’un pays de l’Est, Mikhaïl aux prises avec ses démons, entreprend un dernier voyage guidé par les fantômes prisonniers d’un livre. Images voilées du passé et visions meurtries se révèlent peu à peu". Running time: 16 minutes 30 secondes Original running time: 35 minutes Awards: - EXPERIMENTAL FILM AWARD (Busan International Short Film Festival, South Korea) - MASTERCLASS GRYPHON AWARD (Giffoni Film International Film Festival, Italy) - BEST EXPERIMENTAL AWARD (Rhode Island International Film Festival) - BEST EXPERIMENTAL SHORT (California International Shorts Festival) - GOLDEN GLOVIE HIGH SCORE RECOGNITION (Glovebox, Boston, USA) - CRYSTAL PINE, BEST ORIGINAL SCORE / SHORT (Samobor International Film Music Festival, Slovenie) - JURY SPECIAL MENTION (FIKE 2013, Portugal) - BEST ANIMATION SHORT FILM SHOWCASE (Daring Independent International Film Festival, Toronto) - ROYAL REEL WINNERS (Canada International Film Festival) - GRAND PRIX ATHENA ANIMFEST 2014 (Greece) - BEST EXPERIMENTAL FILM (Belgrade International Documentary an Short Film Festival) Direction: Alain Escalle Script : Alain Escalle Original Music : Flemming Nordkrog Sound Design : Alain Escalle Mix: Vincent Cosson, Nicolas Bourgeois Image Creation : Alain Escalle Camera: Stephen Barcelo, Alain Escalle, Florian Kuhn Editing : Romain Boileau, Guilain Depardieu, Alain Escalle, Nicolas Schmerkin Visual effects: Alain Escalle Animation : Alain Escalle, Cyril Cohen, Clément Goffinet, Matthieu Cantat, Alexis Kerjosse Voices : Oleg Mokchanov, Gabriel Levchine With : Mickelange Iriti, Marie Bokillon, Gregory Bonnault, Bertrand du Couedic, Sébastien Duvernois, Xavier Fahy, Suzon Holzer, Hélène Pecqueur,Didier Silhol, Jean-Baptiste Veyret-Logerias, Roberto Vidal, Robert Werling, Gabriel Levchine, Clara Guelblum, Maria Krioutchenko, Mikchail Vasiuk, Anatole Gabbardo, Katia Temnikov, Kosma Sansault. Production: Autour de Minuit Co-production: Studio AE Contacts: Autour de Minuit Production/Distribution 21, rue Henry Monnier 75009 PARIS-FRANCE tel : +33 1 42 81 17 28 mail : info@autourdeminuit.com for film festivals : mail : festivals@autourdeminuit.com web: http://blog.autourdeminuit.com Alain Escalle: STUDIO AE 26, rue Fessart, 75019 PARIS-FRANCE tel : +33 6 08 30 79 57 mail: aescalle@noos.fr web: http://www.studioalainescalle.com

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            • Dust of Life - Adrien Ouaki

              05:22

              from Adrien Ouaki / Added

              6,388 Plays / / 1 Comment

              Dust of Life Written and choreographed by Adrien Ouaki Directed by Fernando De Azevedo Light design by Vincent Canal and Arthur Vitorino Music: Armand Amar - To warn the world Armand Amar and Levon Minassian - Ar intch lav er Film shot in "Theatre du Jardin" Adrien Ouaki waki_adrien@hotmail.fr adrienouaki.wix.com

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              • Ausmerzen vite indegne di essere vissute

                02:03:37

                from Danyuji / Added

                13K Plays / / 0 Comments

                “Ausmerzen”, “verbo gentile”, come dice Paolini, “che evoca la terra e il mese di marzo, quando i pastori, prima della transumanza, sopprimevano le pecore e gli agnelli troppo lenti, tant’è che in tedesco significa ‘sopprimere chi rallenta la marcia, chi è troppo lento per seguire il branco’” (ma è anche sinonimo di ‘sradicare, abbattere, eliminare, rifiutare, dimenticare, espungere, estirpare, radiare’) è la cronaca agghiacciante dello sterminio di massa, che prepara la soluzione finale, raccontata col distacco paradossale di uno che avrebbe potuto esserne sia la vittima sia il responsabile, e la freddezza di chi mettendolo in scena cerca di aiutare la gente a affrontare i dilemmi che pone. “Lo spettacolo segue le origini delle idee eugenetiche”, spiega infatti Paolini. “Racconta ciò che accadde in Germania tra il 1934 e il 1939, l’accelerazione della macchina burocratica tedesca verso la sterilizzazione di massa, quando l’eugenetica diventa disciplina universitaria, e poi il salto dalla sterilizzazione all’eliminazione. C’è la storia del primo bambino disabile sequestrato e soppresso. La fase ufficiale del programma T4 dura due anni, dal primo settembre 1939 all’estate 1941. Esiste persino un bilancio di 70.292 vittime, ma si tratta di stime. E c’è anche il racconto della così detta “eutanasia selvaggia”, termine che rischia di sembrare un alibi, ma indica la morte negli ospedali psichiatrici di altre 230 mila persone tra il settembre del 1941 e il settembre del 1945. La guerra finisce ai primi di maggio del 1945, ma la macchina eutanasica non si ferma, anzi continua a funzionare per anni. Tant’è vero che fino al 1948, negli ospedali psichiatrici tedeschi l’indice di mortalità resta altissimo. In Italia, invece, di quei dati non ci sono stime, mancano le statistiche”. “Cent’anni fa per finire in manicomio bastava che ci fossero troppi figli in famiglia, che qualcuno avesse un problema”, dice Paolini. “Molti ragazzi, di cui racconto in ‘Ausmerzen’, se avessero avuto un insegnante di sostegno si sarebbero salvati la vita. L’Italia è l’unico paese in Europa a non avere le classi differenziate. In Germania pure i sordi ce le hanno. Noi siamo gli unici matti che provano a tenere i disabili e i ritardati mentali in classe con gli altri bambini. Tutti ci studiano per copiarci, ma noi oggi rischiamo di rinunciare a questo modello perché non ce la facciamo più.

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                • Un cuerpo entre cuerpos

                  04:39

                  from Gilda Producciones / Added

                  3,076 Plays / / 1 Comment

                  La Bailarina Marina Santo realiza este espectáculo inspirado en la Obra SHOAH 1492 - 1945 del artista alemán Wolf Vostell. En el Museo Sefardí de Toledo. Iniciativa de la mano de El Efecto Galatea y el Museo Sefardi. http://es-es.facebook.com/pages/El-efecto-Galatea/149119398441806 http://museosefardi.mcu.es/ http://marinovski.wordpress.com/ Realizacion de la grabación de la mano de Enrique Patras y Bárbara Domínguez: https://es-es.facebook.com/thehatcheryaudiovisual https://es-es.facebook.com/gildaproduccionesaudiovisual

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                  • SHOAH AND POSTMEMORY, english version

                    11:39

                    from Gabriele Croppi / Added

                    1,002 Plays / / 0 Comments

                    SHOAH AND POSTMEMORY http://www.gabrielecroppi.com/gc/wp-content/uploads/2012/09/SHOAH-AND-POSTMEMORY.pdf “Shoah and Postmemory” is a project to re-visit Shoah. It is an attempt to analyse the aesthetic, psychological and sociological reasons, which are at the basis of past remembrance, that is, the ability of the second and third generation to re-live a drama, which is for them extra-biographic. For them it is a fundamental compensation passage, of a void caused by the lack of correspondence between images and experienced reality. In this, images assume a symbolic, iconic strength of traces which go back (through a compensation progress) to an index of ideas and images sedimentary in time both in the collective and individual memory (G. Croppi). In 2008 Gabriele Croppi started to be interested in Shoah after a visit to the concentration camp of Mauthausen. I could see the outline of the concentration camp watch towers and I started to cry without knowing why, for nearly two hours. …. My cry was strange but even then deeply felt, apparently without any obvious reasons to fall back on. An «empty» crying (G. Croppi). After that episode he began his research on the subject of postmemory. Marianne Hirsch’s studies proved to be essential for his work, because they explained his cry and spurred him to follow a new vocational guidance, which was no longer aimed at making reportage and documentary photography but was instead focussed on doing research and on redefining the relationship between ethics and aesthetics. The overwhelming emotions he felt in front of the watching towers of the concentration camp was due to the passive and unconscious absorption of the symbols and the icons related to the Nazi extermination, which had been broadcasted by the media over time. It is the aesthetic fact that is important in these representations, because it can enable a son of the second-generation of sharing, suddenly and unconsciously, the tragedy of a whole population. The Mauthausen experience was revealing. The aesthetic fact therein confirmed itself to be fundamentally important, because it triggered the post-memory mechanism and the participation to a tragedy which had not been experienced personally. Figures, symbols, metaphors, somehow helped to maintain the historic fact itself (G. Croppi). It is on this basis that he asserts that fiction and performance can vouch for the socially known historical truth: aesthetics at the disposal of ethics. In order to prove it, he travelled around Europe taking artistic pictures of the symbolic places of the Shoah. Today thirty of these images constitute the art exhibition Shoah and Postmemory. They are artistic representations that want to touch the viewer, working on the mechanism of postmemory and making him relive the tragedy of the Shoah. To Gabriele Croppi, the different interpretations of the photographic image do not cancel each other out, but can increase the level of persuasiveness so that «the scientific and historic-geographical approach can also come as a consequence of a real aesthetic and emotional “infatuation” of the postmemory mechanisms» (G. Croppi). WHY THIS EXHIBIT Shoah is the term recently adopted by many countries, mainly in the non Anglo-Saxon area, to refer to the dramatic events that involved millions of Jewish during World War II. It was after Lanzman’s docu-movie Shoah (1985) that this Hebraic word started to spread as a valid alternative to Holocaust, a word which was perceived as trivial and misleading for its religious implications. Up to twenty years ago it was a niche subject, mostly discussed through the recollections and the accounts of survivors. Basically there wasn’t an organic and methodical research on the subject. Today these stories are dying, buried under by the unavoidable flow of time, and many people are starting to wonder about the need to preserve this memory so that what occurred in those days won’t happen ever again. But how is it possible to keep the memory of something we didn’t experience without loosing its true meaning? How can we prevent the waves of time from erasing every trace of the crimes committed? Gabrile Croppi’s work originated from these questions. To him revisiting of the places of Shoah proved to be «both an opportunity for iconographic production and a test for the production itself, in which the “lie” of aesthetic act could contribute to keeping an historical “truth”» (Gabriele Croppi). The art exhibition Shoah and Postmemory presents the thirty most meaningful pictures taken by the author in concentration camps and ebraic districts and graveyards during his journey across Austria, Germany and Poland between 2008 and 2011. These are artistic representations in which the aesthetic worth prevails over the documentary, in order to awaken in the observer emotions that can activate the mechanism of postmemory.

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                    • "GEOGRAPHY OF MEMORY" film trailer (not final)

                      04:58

                      from nikos chrisikakis / Added

                      785 Plays / / 0 Comments

                      The idea : People become emotionally attached to places that have the power to evoke memories. Some of these places sustain the continuity of memory, while others are contested, under evaluated or purposely forgotten when they can no longer support meanings once stored in them. This is the basic idea behind our documentary film, “Geography of Memory” which reveals the connection between the World War II experiences of Greek Jews with the so-called “memory-scapes,” i.e. places throughout the country which are loaded with largely ignored personal and/or collective memories. The film: This is not just another film about the Holocaust, concentration camps and Nazi atrocities. Nor is it a piece of work based on archives aiming at collecting as many voices as possible for traditional historical purposes. On a first level, “Geography of Memory” is a collection of the personal stories of eleven different people, all of whom are Jews living in Greece, affected by their Greek identity in one or way or another. Three of them belong to the tiny minority of Greek Jews who were hidden and saved, while the others were deported to Auschwitz –Birkenau and Bergen Belsen from where they managed to survive and return to Greece in 1945 or 1946. On a second level, the film relates all of these peoples’ voices not to something abstract, but to the very concrete loci of modern everyday life: houses where our informants lived in before being caught by the Nazis which today house shops and stylish coffee houses; the route local Jews had to follow before becoming entrapped in ghettos which today form basic city axes full of buses, cars and consumers; destroyed synagogue courts which today form car parks, the fences of a ghetto today covered by modern buildings; the idyllic shore of lake where the Jews of Ioanina where caught, today an important sight for tourist and locals who enjoy the scenery; places where some of these people were hidden, resisted or escaped to freedom. Production-direction-filming : Nikos Chrisikakis Research : Esther Solomon Exec.Producer : M.Giachnaki (c) 2011

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