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Este blog trata basicamente de ideias, se possível inteligentes, para pessoas inteligentes. Ele também se ocupa de ideias aplicadas à política, em especial à política econômica. Ele constitui uma tentativa de manter um pensamento crítico e independente sobre livros, sobre questões culturais em geral, focando numa discussão bem informada sobre temas de relações internacionais e de política externa do Brasil. Para meus livros e ensaios ver o website: www.pralmeida.org.

terça-feira, 18 de janeiro de 2011

As licoes de Nuremberg, para um publico de hoje

Este extraordinário documentário deveria ser disponibilizado em vários sites e arquivos de audio, se possível com legendas em várias línguas, na medida em que se trata de uma incontornável lição de História.
Ver alguns vídeos no YouTube: http://www.youtube.com/watch?v=dlS60RG9j0o&feature=player_embedded
Paulo Roberto de Almeida

SPECIAL SCREENING OF "NUREMBERG: ITS LESSONS FOR TODAY"
Wilson Center bullettin (18/01/2011)

You are invited to a special screening of an historic and powerful documentary that was made more than 60 years ago but until recently was not shown in the United States. The screening will be held on Monday, January 31, at 6 p.m. at The George Washington University under the auspices of the University’s Provost, Steven Lerman. It will be introduced by one of its producers and followed by a panel discussion that will include faculty experts from GW.

"Nuremberg: Its Lessons for Today" was made shortly after World War II for the U.S. War Department and the U.S. military government in Berlin. The producer, Stuart Schulberg, included footage used by the U.S. prosecutors at the International Military Tribunal in Nuremberg to support their indictments of Nazi leaders as well as footage of the trial itself. The film is not only riveting; it’s also a compelling piece of history. It documents the consequences of Nazi Germany’s unprecedented assaults on Europe and humanity; its attempt to murder all the Jews it could find as well as other civilians; and the ways in which the Allies dealt legally with German officials after the war. The film was shown to German audiences in 1948-49 as part of the Allies’ de-Nazification program. It’s significant that, during the late 1940s, U.S. authorities did not permit the film’s release in the U.S.. This prompted a Washington Post reporter at the time to note that "there are those in authority in the United States who feel that Americans are so simple that they can hate only one enemy at a time. Forget the Nazis, they advise, and concentrate on the Reds.”

Read an excellent, informative review of the film at The Washington Post. (transcrevo abaixo)

The film will be introduced by Sandra Schulberg—the daughter of the film’s producer—who, with Josh Waletzky, restored the original film. The panel discussion will include Provost Lerman as well as GW faculty experts on international law, human rights, the Holocaust and education, and will be followed by questions and comments by the audience.

This event is co-sponsored by GW’s Law School, Elliott School of International Affairs, Honors Program, Graduate School of Education and Human Development, Judaic Studies Program, Gelman Library and Rabin Chair Forum, as well as by the Woodrow Wilson International Center for Scholars.

"Nuremberg: Its Lessons for Today"
Monday, January 31, 6 p.m.
Funger Hall, Room 103
2201 G St. NW
Washington, DC 20052
For inquiries please contact Christopher Diaz

=============

Nuremberg: Its Lesson For Today (Nurnberg und seine Lehre)
By Ann Hornaday
The Washington Post, Friday, October 8, 2010

More than 60 years after it was made, "Nuremberg: Its Lesson for Today" arrives in American theaters as something of a minor miracle.

In 1945, the U.S. prosecutors at the International Military Tribunal made two revolutionary decisions: They commissioned Stuart Schulberg, a filmmaker with the OSS Field Photographic Branch, to create documentaries about Nazi history and atrocities that would be used as evidence in the trial of Nazi war criminals in Nuremberg. And they announced that they wanted the trial itself to be filmed as a document of a new form of transitional justice.

The resulting work was shown in Germany in 1948 and 1949 as part of the greater de-Nazification program. But it was withheld from American audiences (for reasons that have never been clear) until now.

"Nuremberg," a meticulous restoration by Schulberg's daughter Sandra and Josh Waletzky, faithfully preserves the original 1948 documentary, adding new subtitles and a narration by Liev Schreiber.

The intervening decades make the film's messages all the more potent -- and not only in its depiction of how economic insecurity, intolerance and demagoguery can be used to manipulate the most depraved forces of a civilized society. "Nuremberg" also stands as a fascinating record of a nascent international court system, the wages of aggressive war and a country's tentative steps toward coming to grips with its history.

Schulberg's father made "Nuremberg" for the U.S. War Department and the U.S. military government in Berlin, using footage he and his screenwriter brother Budd gathered for the two evidentiary films Supreme Court Justice Robert Jackson requested: a four-hour documentary on the history of Nazism and a one-hour documentary about the concentration camps. Schulberg also had access to 25 hours of the trial itself, which lasted nearly a year. Cobbling together the Nazis' own propaganda footage (some of it shot by Leni Riefenstahl), some postwar footage he himself filmed and the trial testimony, Schulberg created a fascinating collage, juxtaposing the bitter truths of the war -- its lies and cruelties and mass murders -- with scenes of its most notorious architects being confronted about their roles.

It's a tawdry, dispiriting tableau. Viewers will be familiar with some of the most distressing images in "Nuremberg," but Schulberg and his team managed to uncover their own fresh hells, such as a film depicting an early gas chamber, using a car with a long exhaust pipe leading into a small cabin. At the trial, the accused war criminals -- 22 in all, including Hermann Goering, Rudolf Hess, Joachim von Ribbentrop and Albert Speer -- looked alternately bored and disgusted, shielding their eyes from the movie lights with dark sunglasses.

Because "Nuremberg" was aimed primarily at German audiences, some references to German history and institutions will be lost on contemporary American audiences. But the specificity of its mission adds to the allure of a film that possesses a riveting brand of rough, raw immediacy. Seen alongside the equally extraordinary "A Film Unfinished," with its Nazi footage of the Warsaw ghetto, "Nuremberg" provides yet another mesmerizing lesson in how even the most cynical propaganda can be recast in the service of truth. And with terms like "war crimes," "military tribunals" and the "Nuremberg principles" now part of a sometimes overheated political vernacular, this heroically preserved film offers a sobering lesson in where and why many of those ideas were first conceived. The "today" of its original title may be been meant for a different generation, but "Nuremberg" couldn't be more of the moment.

Contains disturbing images of the Holocaust and World War II. In English, French, Russian and German with English subtitles.

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