Cover

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pp. 1-1

Title Page, Frontispiece, Copyright, Dedication

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pp. 2-9

Contents

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pp. ix-x

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Acknowledgments

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pp. xi-xii

Writing Through Amateur Eyes: Film and Photography in Nazi Germany involved many people in archives and libraries, many of whom gave assistance with access to images and written material that did not always make it into the final manuscript. ...

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Introduction: Alternate Perspectives from Nazi Germany

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pp. xiii-xxiv

In his bold intervention into the controversy surrounding the “War of Extermination” on the Eastern Front, and particularly the participation of the Wehrmacht and its soldiers in this war, Bernd Hüppauf calls for new ways of looking at the photographs taken by soldiers and officers present to the crimes committed in the name of Nazism. ...

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1. Witnessing from a Distance, Remembering from Afar: How to See Amateur Images

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pp. 1-36

Until the past ten years, the films and photographs I discuss in these pages have been more or less ignored—forgotten or rendered inconsequential or invalid—in the ongoing urge to write the history of World War II and the Holocaust. Not only were they taken by “German perpetrators”; more important, many were not known to exist until recently. ...

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2. On the Eastern Front with the German Army

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pp. 37-92

The hundreds of thousands of photographs taken on the Eastern Front include some of the most difficult of the World War II visual documents for the historian to reckon with. They are difficult for a number of reasons, most significantly for the disturbing nature of what is photographed. ...

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3. The Privilege and Possibility of Color: The Case of Walter Genewein’s Photographs

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pp. 93-158

Some of the most extraordinary photographs from World War II were those taken in color. These images are remarkable because the technology used to produce and process color-transparency film stock was in its infancy in the late 1930s. ...

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4. Europe at War in Color and Motion

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pp. 159-216

The camera pans across a snow-topped mountain range in central Europe, a man rows his boat with a child on a lake, there are mountains in the distance, and a doubles tennis match is being played on a glorious summer’s day. These images depict a picture-perfect scene. ...

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5. At Home, at Play, on Vacation with Eva Braun: From the Berghof to YouTube and the Imperative to Remember

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pp. 217-286

Of all the photographs and films discussed in Through Amateur Eyes, those attributed to Hitler’s mistress, Eva Braun, come closest to traditional notions of family photos and home movies. The films are conventionally conceived home movies that depict the daily life of Braun and her family and friends, at home in Munich; ...

Notes

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pp. 287-328

Index

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pp. 329-342

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About the Author

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pp. 368-368

Frances Guerin is senior lecturer of film studies at the University of Kent, England. She is the author of A Culture of Light: Cinema and Technology in 1920s Germany (Minneapolis, 2005) and coeditor with Roger Hallas of The Image and the Witness: Trauma Memory and Visual Culture. ...

Image Plates

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pp. 369-384