Not Signed-In
Which clippings match 'Nazi' keyword pg.2 of 3
10 APRIL 2011

Wolfenstein 3D: Pac-Man intragame

"An intragame is a game within the game, e.g. the Pachinko machine in Duke Nukem 3D [or a Pac–Man level in Wolfenstein 3D]. Since computer games are based on simulator technology that could mix or include any other game in addition to the main game, the main game will be the only one classified."

(Aarseth, Smedstad and Sunnanå, 2003, p.49)

1). Video capture of secret Pac–Man level within Episode 3 of Wolfenstein 3D.

2). Table of Contents for Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University

3). Espen Aarseth, Solveig Marie Smedstad and Lise Sunnanå (2003). 'A multi–dimensional typology of games', in Copier, Marinka; Raessens, Joost, Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University



19923Daction hero • Adrian Carmack • Apogee SoftwareCastle Wolfensteincomputer gamesdigital cultureDiGRADuke Nukem 3Deaster eggEspen Aarsethfirst-person point of viewfirst-person shooterFPS • game genres • game within the game • gameplaygames • id Software • intragame • Lise Sunnana • mise-en-abymeNaziPac-Man • Pachinko • PC gamesreflexivityrun and gunScott Miller • shareware • Solveig Marie Smedstad • tribute • typology of games • video gamevirtual environmentsWolfenstein 3D


Simon Perkins
07 JULY 2009

Conducting lethal medical experiments on living human subjects

"On the 22nd July 1942, 75 prisoners from our transport that came from Lublin were called, summoned to the chief of the camp. We stood before the camp office, and present Kogel, Mandel and one person which I later recognized Dr. Fischer. We were afterwards sent back to the block and we were told to wait for further instructions. On the 25th of July, all the women from the transport of Lublin were summoned by Mendel, who told us that we were not allowed to work outside of the camp. Also, five women from the transport that came from Warsaw were summoned with us at the same time. We were not allowed to work outside the camp. The next day 75 women were summoned again and we had to stand before the hospital in the camp. Present were Schiedlauski, Oberhauser, Rosenthal, Kogel and the man in when I recognized afterwards Dr. Fischer."

(Vladislava Karolewska, 1946)

fig.1 Herta Oberheuser, physician on trial for having conducted medical experiments on concentration camp prisoners. Nuremberg Medical Trial, Germany, August 1947. NARA

Fig.2 Vladislava Karolewska, a victim of medical experiments, who appeared as a prosecution witness at the Doctors Trial. Nuremberg Medical Trial, Germany, December 22, 1946. NARA



19473-lens turretatrocitycommand responsibilitycrimedeath campdocumentary evidenceethicseuthanasiaexperimentation • Herta Oberheuser • human rights violationhuman subjects • lens turret • liability • medical experiments • Nazi • Nuremberg Medical Trial • Nuremberg Trialsresponsibilitysufferingwar crimesWorld War II


Simon Perkins
16 NOVEMBER 2008

John Heartfield

[Short extract from America's Ovation TV on pioneering photomontage activist John Heartfield.]



Simon Perkins

Auftragstaktik: individual initiative, independent decision-making

'Auftragstaktik' means more than the terms usually employed in English, 'mission orders' or 'mission–oriented tactics.' Assuredly, it does. Auftragstaktik subsumes all the following concepts: individual initiative, independent decision–making, and thinking leaders reaching tactical decisions on their own accord. In short, a commander would specify to subordinates what to do, not how to do it.'
(David M. Keithly and Stephen P. Ferris)

Fig.1 Friedrich Zschäckel (1943). Sowjetunion, Kursk.– 'Unternehmen Zitadelle'.– Soldaten der Waffen–SS–Division 'Das Reich' vor Panzer VI 'Tiger I'; SS–PK. B. I.–P. d. W.–. Waffen–SS.



Auftragstaktik • independent decision-makingindividual initiativeNazi • Panzer • tactictactical engagementtankThird Reich


Simon Perkins
31 AUGUST 2007

Hitler's Hit Parade: Modernist Cultural Production of the Third Reich

"Hitler's Hit Parade is a composition of archival footage from movies, amateur–, animated–, and educational films, commercials and propaganda – accompanied by dance and popular music from the Third Reich.

The film is structured along thematic chapters, each accompanied by a song and introduced by a headline in the style of the period. In the form of an artistic collage, the film uses a musical thread, to lead the audience through experiences and ideas of the Nazi era.

In contrast to still images – from painter Otto Dix to the Bauhaus – this collage is composed of living pictures. From a wealth of situations in the original material, a portrait of a modern civilization slowly emerges, in which beauty and evil flourish side by side. The lyrics and melodies of the songs serve both as a complement and contrast to the footage.

By foregoing didactic narration, Hitler's Hit Parade addresses audiences, who are well versed in the historical facts of the time, on an emotional level. Open–minded viewers are thus offered a broad perspective on the problems inherent in passing judgment on the Nazi

Rather than adopting a typical distanced approach, the film invites viewers to shed their usual safe distance looking back in time from the outside – and to allow a view from the inside on this journey through the Third Reich.

In witnessing numerous situations and examples of human behavior, the viewer is tempted to identify with the figures on screen, and is forced to ask himself what roles he could, would, or should have taken on during this period.

In a subtle manner, Hitler'S Hit Parade analyses the enticing components of highly progressive, extremely modern Nazi Germany, and how at the same time a cultivated people could be reduced to a moral and physical heap of rubble as a result of the Nazi madness."
(German Documentaries)

"This Franco–German [film] production explores the impact of Nazi propaganda on music and art during the regime.
When the Nazis rose to power, Germany was at the height of its intellectual and artistic brilliance, and boasted some of the most eminent poets, artists, musicians and scientists in the world. The propaganda model created by Hitler and his followers was confusingly imposed on this state of affairs. Accompanied by a vortex of contradictions, the outcome was a repertory of styles and world visions ranging for idolatry of the most brazen and monumental classicism to decidedly lightweight (or even low–brow) taste, at times with indiscriminate crossovers involving the artistic circles, life styles and kinds of tastes officially execrated by the regime: modernism, jazz and homo– and heterosexual insinuations verging on licentiousness."
(Giorgio Cini Foundation)

[This film was screened on the Arte channel (France TV) on Monday the 27 August 2007 at 11:55 (Lundi 27 août 2007 de 23h55).]

Fig. 1,2,3,4. Oliver Axer and Susanne Benze (2003). Les Refrains du Nazisme [English title: Hitler's Hit Parade], C. Cay Wesnigk Filmproduktion: 76 minutes.



2003amateurappropriation • archival footage • artartistic practiceBauhaus School • C. Cay Wesnigk Filmproduktion • cinemacollagecultural production • Deutsches Reich • filmfootageGerman cinemaGermany • Hitlers Hit Parade • Les Refrains du Nazisme • modernismmusicmusic videoNazi • Oliver Axer • Otto Dix • propagandare-purposeremix culturerevisionismsequence design • Susanne Benze • Third ReichWeimar Republic

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