Not Signed-In
Which clippings match 'Nazi Germany' keyword pg.1 of 1
09 JUNE 2015

Compelling motion infographics: The Fallen of World War II

"The Fallen of World War II is an interactive documentary that examines the human cost of the second World War and the decline in battle deaths in the years since the war. The 15-minute data visualization uses cinematic storytelling techniques to provide viewers with a fresh and dramatic perspective of a pivotal moment in history."



23 • 80 • Africa • AlteredQualiea • Andy Dollerson • Aotearoa New Zealand • Auschwitz-Birkenau • AustraliaAustriaaverage age • battle deaths • Belgium • Belzec • British colonial era • BurmaCanadacasualties • Chelmno • civilian deaths • concentration camp • cost of war • counting the numbers • course of historyD-Day landingdata visualisation • data-driven documentary • death campDenmark • Eastern Front • Estonia • firebombing • Francefutility of wargas chambergassingGreecehistorical perspective • human cost of war • HungaryIndiaIndonesiainfo graphicsinteractive information designItalyJapanJewish HolocaustKoreaLatviaLithuania • long peace • Luxembourg • Majdanek • military conflictMyanmarNazi Germany • Neil Halloran • Netherlands • North American historical perspective • Norwaynumerical scalesOkinawa • Omaha Beach • Pacific Rim • Pacific War • peace • Pearl Harbor • Peoples Republic of ChinaPeoples Republic of PolandPhilippinespicture statisticsPolandRomania • Siege of Leningrad • Slovakia • Sobibor • Soviet armySoviet Russia • Stalingrad • statistical graphics • Steven Pinker • Treblinka • UKvisual information designwarwar crimes • Western Front • World War II • Yellow River • Yugoslavia


Simon Perkins
20 NOVEMBER 2014

The Pervert's Guide to Ideology

"Starting from the provocative premise that political and commercial regimes regard us as 'subjects of pleasure', controlling us by offering us enjoyment, director Sophie Fiennes and charismatic philosopher Slavoj Žižek repeat the formula of their 2006 collaboration, The Pervert's Guide to Cinema.

The quirky, genial Žižek employs cleverly chosen clips from a huge variety of movies – including Brazil, M*A*S*H, The Sound of Music, and Brief Encounter – to illustrate his fascinating monologue, frequently appearing on sets and in costumes which replicate scenes from the films in question. For example, dressed as a chubbier, bearded Travis Bickle, he expounds the darker subtexts of Taxi Driver's plot from within the anti–hero's grotty apartment. This entertaining approach helps to ensure that what might otherwise have been a dense, even daunting intellectual challenge is actually an engaging and unexpected delight."

(The Institute of Contemporary Arts)



2012 • A Brief Encounter (1945) • anxieties • atheism • bloodbath • Brazil (1985)capitalism • catholicism • cinematic fantasies • consumerism • critical interpretation • critique of ideology • cultural critic • cultural critique • cultural theorist • daisy-chained improvisations • desire • dissident • documentary filmenculturation • enjoyment • Ethel Sheperd • fatigues • fears • flights of fancy • hegemonic discourseheroiconographyideological messageideological systemsideologiesideology • If (1968) • impulse of capitalism • Jaws (1975) • Kinder Eggs • Lucy Von Lonkhuy • MASH (1970) • NaziNazi GermanyNazi propaganda filmsnews footageOccupy Wall Street • Ode to Joy • prevailing ideologies • promise of fulfillment • propagandapsychoanalysis • psychoanalyst • psychoanalytic critic • pursuit of enjoyment • Rammstein • readable experience • rebel • Seconds (1966) • secret message • simple pleasures • Slavoj Zizek • Slovene • Slovenian • Sophie Fiennes • Soviet Russiasubconscioussubtext • tacit understanding • Taxi Driver (1976) • The Dark Knight (2008) • The Fall of Berlin (1950) • The Last Temptation of Christ (1988) • the otherThe Perverts Guide to Ideology (2012) • The Searchers (1956) • The Sound of Music (1965)They Live (1988) • Titanic (1997) • Triumph of the Will (1935) • unconscious desires • underdog • unseen depths • villain • violent outsider • West Side Story (1961) • Zabriskie Point (1970)


Simon Perkins
16 JANUARY 2013

1937 Munich exhibition of Degenerate Art

"00:25:43 Wide view of the new House of German Art, a museum dedicated to Nazi–approved artwork, with long, white columns. 00:26:03 Across the street, INTs of the 1937 exhibition of Entartete Kunst ['Degenerate Art'] on the second floor of the Institute of Archaeology. Room 1 with 'Kruzifixus' [Crucified Christ] sculpture by Ludwig Gies (1921), formerly in Luebeck cathedral. 00:26:66 Room 3 with 'Maedchen mit blauem Haar' [Girl with Blue Hair] by Eugen Hoffmann. Wall text refers to a Kandinsky piece 'Zweierlei Rot' (1928) purchased for the National Gallery in Berlin for 2,000 marks as 'paid by taxes from the working German people.' 00:26:39 Wide view of the crowds in Room 3, including the mocking inscription by Georg Grosz, 'Nehmen Sie Dada ernst! Es lohnt sich.' [Take Dada seriously! It's worth it.] Male docent showing visitors Room 3 with 'Springendes Pferd' [Jumping Horse] by expressionist Heinrich Campendonk from the National Gallery and the small painting 'Um den Fisch' [Around the Fish] by Paul Klee. 00:27:13 Visitors moving through Room 3, looking at sculptures beneath an inscription in wavy lines, 'We act as if we were painters, poets, or whatever, but we...are just putting one giant swindle over on the world....' 00:27:24 Exhibit lobby with large head sculpture 'Der neue Mensch' [The New Man] by Otto Freundlich (1912), which was used for the cover of the exhibition guide. 00:27:37 EXTs, people coming out of the building, car and bicycle pass by on the street. Large sign over exhibition entrance: 'Ausstellung 'Entartete Kunst' Eintritt frei.' [Exhibition 'Degenerate Art' Free entrance.] INT, Room 4 with 'Der Strand' [The Beach] by Max Beckmann. 00:28:00 Profile view of two women looking at paintings by Ernst Kirchner and Oskar Kokoschka in Room 4 with 'Sitzender Mann' [Sitting Man] by Erich Heckel of the artists' group 'Die Bruecke' [The Bridge] and 'Die Mulattin' [The Mulatto Woman] by Emil Nolde behind them. Men view works in Room 4 and move through exhibit. 00:28:33 Room 5 with 'Bahnhof in Koenigstein' [Koenigstein station] by Ernst Kirchner, 'Blumen und Tieren' [Flowers and Animals] by Heinrich Campendonk (1926), 'Handstand' by Willi Baumeister, 'Im Kanu' [In the Canoe] by Jean Metzinger, 'Komposition' [Composition] by Piet Mondrian (1929), 'Stilleben' [Still Life] by Karl Schmitt–Rottluff (1932). 00:29:07 The inscription over the doorway from Room 6 to Room 7, 'Sie hatten vier Jahre Zeit.' [They had four years' time.] In Room 1, 'Christus und die Suenderin' [Christ and the Sinner] by Emil Nolde (1929). Visitors before the Dada wall in Room 3, pan to right."



1937 • degenerate art • deviant status • Emil Nolde • Entartete Kunst • Erich Heckel • Ernst Kirchner • Eugen Hoffmann • exhibitionExhibition of Degenerate Art • Georg Grosz • Heinrich Campendonk • House of German Art • Jean Metzinger • Julien Bryan • Karl Schmitt-Rottluff • Kruzifixus • Ludwig Gies • Max Beckmann • modern artMunichmuseumNazi Germany • Nazi-approved artwork • Oskar Kokoschka • Otto Freundlich • out-groups • Paul Klee • Piet MondrianUnited States Holocaust Memorial Museum • Wassily Kandinsky • white columns • Willi Baumeister


Simon Perkins

Walt Disney and the Art of WWII Propaganda

"During World War II, Disney's provided some political education for Americans at home –– and for soldiers on the front, too. 'Education for Death: The Making of the Nazi' appeared in movie theaters in 1943. The tone of the movie was serious, and it didn't feature the likes of Donald Duck or Mickey Mouse. Instead, it used impressive images to describe how children in Nazi Germany were raised to hate and to participate in the war effort –– and how little blonde Hans' only purpose in life was to die on the front."

(Sven Stillich, 2009)



1943Adolf Hitleranimation • anti-Nazi • cartooncel animationchildren • Clyde Geronimi • die • Donald Duck • emotive manipulationenculturationethics • Gregor Ziemer • hate • Hitler Youth • Mickey MouseNaziNazi Germany • North Americans • patriotismpolitical educationpropaganda • The Making of the Nazi • traditional animationWalt DisneywarWorld War IIWWII


Simon Perkins
13 FEBRUARY 2004

Moholy-Nagy: Frames Within Space-frames

"A primary characteristic of the 'language' of montage is its tendency towards multiple and layered meanings. One example of this multiplicity is the combination of incongruous visual and verbal elements within the space of a single picture. ...these individual elements are combined in compositions, which are more like energy fields than traditional perspectival space (with its attendant sense of rational time). The syntax of montage is non–linear; any single element tends towards a multiplicity of possible connections with other elements. Meanings are contextual and relative, and the literalness of photography gives way to metaphor, metonymy and allegory. These effects are created not only by the cutting and fragmentation of elements but also by the space between the elements which, like gaps that must be jumped, activate and energise the image. It would not be incorrect to see these 'fields' as a kind of shattered mirror reflection of the energy, confusion and contradictions of life as the Dadaists saw it. Many of their works, however, emphasise the desire, perhaps the necessity, to see below this surface reflection to the underlying structure of society or the psyche. Iconographically, the most consistent reminder of that desire is the repeated use of anatomical photographs and diagrams in the work of Hausmann and Ernst. In addition to their visual impact as figures, these elements tend to constantly remind the viewer to be conscious of what is below the surface, even if that underlying layer is not visible. Thus, during this period the foundations were laid for the Surrealists' examination of the unconscious and for John Heartfield's satirical analysis of the ideology of Nazi Germany in the early 30's. Apart from and following Dada's end as an organised movement, important photomontages were also produced by Constructivist artists such as Lazio Moholy–Nagy and Alexander Rodchenko."
(John Pickel, 1988)

Title on Object: Eifersucht
Published Title: Jealousy

collage with photographic/photo–mechanical and drawn elements
63.8 x 56.1 cm.
Museum Purchase; ex–collection Sybil Moholy–Nagy
GEH NEG: 4339

Old GEH Number: 4685–11



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