User:Asdfww/ab2do

See a: Gerhard_Richter - de, de - Bilder bef, KZ Auschwitz, Auschwitz_Album,Wilhelm_Brasse


 * Sonderkommando_photographs

Auschwitz and the arts
Whats about art in the time ...? As Adorno: Darf man / Kann man den Holocaust so zeigen?

a la France

 * La loi du 3 octobre 1940 « portant statut des juifs », appelée par les historiens « premier statut des juifs » - État Français, des teilweise besetzten Frankreichs unter der Führung von Philippe Pétain und Pierre Laval, ein antisemitisches „Judenstatut
 * Loi d'exception qui sera remplacée le 14 juin 1941 par le [second statut des juifs], elle usurpe le nom de « loi » en dépit des positions du Conseil d'Etat resté en place, le Parlement n'étant plus en fonction depuis le 11 juillet 1940.  -
 * https://fr.wikipedia.org/wiki/Loi_du_2_juin_1941_remplaçant_la_loi_du_3_octobre_1940_portant_statut_des_juifs
 * [https://fr.wikipedia.org/wiki/Régime_de_Vichy#Les_Juifs_en_France_pendant_le_r.C3.A9gime_de_Vichy

Saul
Son of Saul (Saul fia) is a 2015 Hungarian drama film directed by László Nemes and co-written by Nemes and Clara Royer. It is set in the Auschwitz concentration camp during World War II, and follows a day-and-a-half in the life of the fictive prisoner Saul Ausländer (played by Géza Röhrig), a Hungarian member of the Sonderkommando.


 * review in the nyt - A O Scott: Review: ‘Son of Saul’ Revisits Life and Death in Auschwitz, NYT<!--            The shape of the screen is unusually narrow in “Son of Saul,” the 38-year-old Hungarian filmmaker Laszlo Nemes’s debut feature. Nearly square, it evokes an earlier era, when all movies looked this way, and also emphasizes the claustrophobia of the story and the setting. We are in a Nazi death camp, and really in it, to a degree that few fictional films have had the nerve to attempt. The camera doesn’t just survey the barracks and the guard towers, the haggard prisoners and brutal guards. It takes us to the very door of the gas chambers, in the close company of Saul Auslander (Geza Rohrig), a Jewish inmate who is a member of the camp’s Sonderkommando (special commando) unit.

Continue reading the main story RELATED COVERAGE

Anatomy of a Scene: Laszlo Nemes Narrates a Scene From ‘Son of Saul’JAN. 21, 2016 In ‘Son of Saul,’ Laszlo Nemes Expands the Language of Holocaust FilmsDEC. 14, 2015 Here I should step back a bit, though Mr. Nemes, who favors a hand-held, intimate, in-the-moment shooting style, decidedly does not. The Sonderkommando occupy an especially painful and contested place in the history of the Holocaust. Slave laborers like nearly everyone else in the camps who was not immediately killed, they had the job of shepherding their fellow Jews to their deaths and cleaning up afterward, sorting through clothes, eyeglasses, jewelry and other personal effects and burning the corpses.

They were rewarded for this service with meager privileges that included improved rations and the postponement of their own inevitable deaths. In Auschwitz-Birkenau, where “Son of Saul” takes place, there was a Sonderkommando uprising in 1944, an event that is echoed in parts of the film. After the war, members of the Sonderkommando were shunned by many other survivors because they had, however involuntarily, participated in the slaughter. Some were executed or otherwise punished for collaborating with the Germans.

CULTURE By MEKADO MURPHY 3:35 Anatomy of a Scene | ‘Son of Saul’ Continue reading the main storyVideo Anatomy of a Scene | ‘Son of Saul’ Laszlo Nemes narrates a sequence from “Son of Saul.” By MEKADO MURPHY on Publish Date January 21, 2016. Photo by Sony Pictures Classics. Watch in Times Video » Embed Share Tweet This larger history is kept outside the frame. Shot mostly in extended close-ups (the skilled director of photography is Matyas Erdely), “Son of Saul” moves rapidly and relentlessly in the present tense, never leaving Saul’s side. Not that we penetrate his thoughts. Mr. Rohrig, a poet and former teacher appearing in his first film, has the intriguing opacity that distinguishes nonprofessional actors. Like Lamberto Maggiorani in “Bicycle Thieves” or Maria Falconetti in “The Passion of Joan of Arc,” he is an indelibly particular, almost spiritually intense, screen presence. His face is hard to read and impossible to forget — a mask of stoicism, anguish, exhaustion and cunning.

Our eyes are trained on Saul, and therefore we don’t see much of what he sees. Mr. Nemes uses shallow focus techniques that blur everything not immediately in front of his protagonist’s face. Though we find ourselves in close proximity to death, we are also detached from it. Human figures are blurred, movements are indistinct, and horrifying sounds — cries, gasps, footsteps, blows — reach us from invisible sources.

This disorientation is meant to convey immediacy, and to signal an uncompromising vision. Mr. Nemes wants to serve the horror raw, to bring us as close as he possibly can to the machinery of murder, to make cruelty palpable. He subscribes to one of the dubious dogmas of post-World War II aesthetics, namely the idea that the representation of real-life atrocity requires the chastening of artifice, the stripping away of anything that might smack too much of style.

Advertisement

Continue reading the main story Advertisement

Continue reading the main story

But of course, everything I have said about this movie so far has to do with its formal strategies and visual tactics. To say that “Son of Saul” is a highly stylized, self-conscious and calculating piece of narrative is not to say that it’s a bad movie, only that it’s a movie. And to say it’s a Holocaust movie is not so much to identify its subject matter as to specify its genre. Mr. Nemes may disdain “Schindler’s List” — as every ambitious European art-film director must — but he is very much in its debt.

By AINARA TIEFENTHÄLER and ROBIN LINDSAY 1:20 Movie Review: ‘Son of Saul’ Continue reading the main storyVideo Movie Review: ‘Son of Saul’ The Times critic A.O. Scott reviews “Son of Saul.” By AINARA TIEFENTHÄLER and ROBIN LINDSAY on Publish Date December 17, 2015. Photo by Ildi Hermann/Sony Pictures Classics. Watch in Times Video » Embed Share Tweet Continue reading the main story RECENT COMMENTS

Marvin Elliot 18 hours ago I saw this film in a theater with only a few people present. Weekday afternoons are my preferred time to see a film that is bound to be... Andy March 3, 2016 This movie - unlike Schindler's List, which is a moving but romanticized story - is real. In my opinion it accurately depicts the *absolute*... md February 21, 2016 And Kaddish is never said... Nor the body buried. SEE ALL COMMENTS WRITE A COMMENT In the immediate aftermath of World War II, the mass murder of the Jews seemed to many artists and intellectuals to exist beyond the reach of representation. It was something to be handled with the utmost care and gravity. But art, especially popular art, abhors a vacuum, and the Shoah is, among other things, a rich reservoir of stories, true and speculative. There are works of narrative — like Claude Lanzmann’s “Shoah” or the novels of Patrick Modiano — that try to measure the gulf between past and present and to document the inadequacy of memory. There are others that try to bridge that gap by recreating or retrieving a sense of what actually happened. “Schindler’s List” remains the best-known — and one of the best examples. And there are some that try to fill the void with fable and fantasy, like “Inglourious Basterds” and “Life Is Beautiful.”

“Son of Saul” belongs more in the third category than the second. It’s a beat-the-clock thriller wrapped around an allegory. Saul witnesses the death of a boy who may or may not be his son, and becomes obsessed with giving the body a proper Jewish burial. He scrambles through the camp, a buzzing hive of hideous and mundane routines, in search of a rabbi. He barters and begs, and his quixotic project intersects with desperate plans for rebellion and escape that other prisoners are hatching. Mr. Nemes orchestrates a tour de force of suspense, a swift symphony of collisions, coincidences and reversals that is almost unbearably exciting.

CONTINUE READING THE MAIN STORY 33 COMMENTS His skill is undeniable, but also troubling. The movie offers less insight than sensation, an emotional experience that sits too comfortably within the norms of entertainment. This is not entirely the director’s fault. The Holocaust, once forbidden territory, is now safe and familiar ground.

“Son of Saul” is rated R (Under 17 requires accompanying parent or adult guardian). Death everywhere. The film is in Hungarian, German, Yiddish and Polish with English subtitles. Running time: 1 hour 47 minutes. in print on December 18, 2015, on page C10 of the New York edition with the headline: Life and Death in Auschwitz: A Sonderkommando’s View. Order Reprints|       --> Dec 17, 2015 (30 comments), in print on December 18, 2015, Life and Death in Auschwitz: A Sonderkommando’s View. on page C10 of the New York edition. (The movie offers less insight than sensation, an emotional experience that sits too comfortably within the norms of entertainment.)

Background
 * The prisoners in the Sonderkommando´s in the nazi extermination camps were forced into the horrible labour-position by the ss under threat of death. They had no way to refuse or resign. The prisoners in the Sonderkommando´s are killed in all six month and they know that.
 * In reality the massmurder of Hungarian jews took place in 1943 in a few weeks
 * pictures: In reality the
 * In reality there were some riots of prisoners in that Sonderkommandos in 1 2 3 The riots finished with the death of all participating prisoners. but the mussmurder were stopped for some days or in the campf was closed on behalf ...


 * Tim_Blake_Nelson has directed The Grey Zone (2001)

Background
(Hintergrund in der Realität)


 * After the uprising ??

Nemes conceived of the film from the book The Scrolls of Auschwitz, a collection of testimonies by Sonderkommando members, ( germ WP, ref? )

Nemes started working on the screenplay with Royer in 2010 and completed the first draft in 2011.[2][16]

The writers spent several years on research, while historians such as Gideon Greif, Philippe Mesnard and Zoltán Vági.

Musics and tones
 * "Mendy Cahan, Tel Aviv, war dafür zuständig, den zu Wort kommenden Charakteren korrekte jiddische Dialekte zuzuweisen. Im Gespräch mit Judith Poppe berichtet er in der NZZ von dieser Aufgabe, die den meisten Zuschauern entgehen wird: "Von den Zuschauern verstehen vielleicht drei Prozent Jiddisch, ein Prozent dieser drei Prozent versteht, dass dieses oder jenes Wort ein Dialekt ist, dass dieser Jude in einem Cheder gelernt und jener andere sein Jiddisch fast schon vergessen hat. Aber im ganzen Film geht es nicht um Verstehen. Die Charaktere sprechen Griechisch, Jiddisch, Russisch oder Ungarisch; wenn du nicht gerade ein polyglotter Ostjude bist oder aus anderen Gründen all diese Sprachen sprichst, verstehst du nicht alles. Aber das ist Teil dieses Klanguniversums. Du verstehst, dass du nicht verstehst.""

Wo wird ähnl. Titel in Filmen verwendet? Son and Saul

Oberkapo America's Most Wanted (1988– ): Folge Lucian Kozminski: The Oberkapo, Buch dazu von Mark E. Kalmansohn: Nothing is Too Late: The Hunt for a Holocaust Swindler. Brassey's, 2004, 285 S. (an alleged SS collaborator, who embarked on a scheme to steal huge sums of money that the postwar German government had set aside as restitution). ISBN 1574886851


 * |a + the uprising|b b   Trebl: Nach dem Aufstand von Sobibór mit anschließender Massenflucht am 14. Oktober 1943 wurde dieses zweite Vernichtungslager ebenfalls geschlossen. Erst nach einem Jahr ! In Sobibór: Das Lager wurde aufgegeben und dem Erdboden gleichgemacht.

i e


 * Markus Lippold: (Rez. SoS) Kein Entkommen aus Auschwitz. Bei n-tv.de vom 10. März 2016


 * RACHEL DONADIO: In ‘Son of Saul,’ Laszlo Nemes Expands the Language of Holocaust Films. In: <!-- How do you find a fresh perspective on the Holocaust? In his first feature, “Son of Saul,” the Hungarian director Laszlo Nemes chose to depict the enormity through the specific. For most of the 107-minute fiction film, the camera remains fixed on the face of one inmate at Auschwitz-Birkenau as he races around the death camp trying to bury a boy he believes is his son.

The film, which opens in the United States on Friday, won the grand prize, or second place, at this year’s Cannes Film Festival, rare for a first-time director, and has set off intense debates among critics about the moral implications of Mr. Nemes’s aesthetic choices. The film is Hungary’s entry in the foreign-language Oscar race, where it has been gaining momentum after strong receptions at the Toronto, Telluride and New York film festivals. Last week, it received a Golden Globe nomination for best foreign film.

Continue reading the main story RELATED COVERAGE

Review: ‘Son of Saul’ Revisits Life and Death in AuschwitzDEC. 17, 2015 Mr. Nemes, whose family lost many members at Auschwitz, said he had been frustrated with Hollywood’s often schmaltzy renderings of the Holocaust, with their insistence on finding heroes and uplifting stories — he singled out Steven Spielberg’s “Schindler’s List” as a prime example — and said he had wanted to make something new.

“We definitely try to widen the grammar of film language with this film,” Mr. Nemes, 38, said in a recent conversation via Skype from his home in Budapest. “It doesn’t take the existing, widely accepted language for granted.”

Instead, Mr. Nemes (pronounced NEH-mesh) said, he wants to go against the reductive didacticism of television, which he finds rampant, and use film to explore ambiguity. Today, he said, there’s a tendency “to make sure that the audience understands continuously and totally, so that means that there’s no more journey for the audience, nothing is hidden, everything is explained.” He added, “There’s nothing magical about it.”

“Son of Saul” is filmed in long, restless takes, with no soundtrack besides the grim cacophony of a death camp — the slamming of doors, the sifting through possessions — and is set over the course of a day and a half in October 1944. It follows Saul Auslander, a Hungarian member of the Sonderkommando, the Jews forced to dispose of the human remains from the gas chambers, as he tries to rescue a dead boy’s body from meeting the fate of the ovens.

Photo

Geza Rohrig, left, and Marton Agh in “Son of Saul.” Credit Sony Pictures Classics Mr. Nemes wrote the script with his friend Clara Royer, a French novelist, after stumbling on a collection of testimonials by members of the Sonderkommando. The film did not secure any financing from France or Israel — Mr. Nemes was an unknown and his subject too risky, he said — and most of the 1.5 million euro budget (about $1.58 million) came from the Hungarian National Film Fund. The New York-based Conference on Jewish Material Claims Against Germany also contributed money.

The film plays out on the face of Saul, a debut film performance by Geza Rohrig, a Hungarian poet whom Mr. Nemes met while studying at New York University’s film school. During the 28-day shoot, he had Mr. Rohrig rehearse for hours before filming takes, three to four minutes each, with a 35-millimeter camera placed about 20 inches from his face.

Advertisement

Continue reading the main story

“I had to be superfocused, because every little bit of change” mattered, Mr. Rohrig said. “Like on the surface of water — even if you blow the water, you can immediately see, it shows everything.”

Mr. Rohrig, 48, who took a leave from his job teaching Jewish studies at a Brooklyn private school to promote the film, volunteers for a Jewish burial society. He spent months visiting Auschwitz as a student in Poland in the 1980s and wrote a book of poems about it. He said he regarded the Sonderkommando as victims, not perpetrators, adding that they were the only Jews in the camp to understand that they faced certain death and that his acting had to reflect that knowledge.

“I couldn’t be like a peacock and show all my feathers,” Mr. Rohrig said. “I had to be this zombie robotic living-dead person, and on the other hand, I couldn’t become boring, so I had to compensate with the persistence, the intensity.”

Writing about “Son of Saul” in The New York Times from Cannes, the critic Manohla Dargis called the film “a radically dehistoricized, intellectually repellent movie,” and said that the focus on Saul comes at the expense of broader context.

By AINARA TIEFENTHÄLER and ROBIN LINDSAY 1:20 Movie Review: ‘Son of Saul’ Continue reading the main storyVideo Movie Review: ‘Son of Saul’ The Times critic A.O. Scott reviews “Son of Saul.” By AINARA TIEFENTHÄLER and ROBIN LINDSAY on Publish Date December 17, 2015. Photo by Ildi Hermann/Sony Pictures Classics. Watch in Times Video » Embed Share Tweet Mr. Nemes said that his aim had been to narrow the scope of the film to capture the vastness of the Holocaust. “Because it takes place much more in the imagination than on screen,” he said in a conversation in Paris this fall. “Whereas when you show frontally, you only reduce the scope of it. So making it small actually makes it much bigger.”

“Son of Saul” has won praise from Claude Lanzmann, whose 1985 documentary, “Shoah,” Mr. Nemes had grown up watching, and who in 1994 had famously written about “Schindler’s List” that the Holocaust was “unrepresentable” in a fiction film.

In an interview at his home in Paris, Mr. Lanzmann, 90, gave “Son of Saul” and Mr. Nemes his blessing. “I think it’s a very new film, very original, very unusual,” Mr. Lanzmann said.

“It’s a film that gives a very real sense of what it was like to be in the Sonderkommando,” he added. “It’s not at all melodramatic. It’s done with a very great modesty.”

Other French intellectuals have also weighed in. The philosopher Georges Didi-Huberman wrote a 25-page open letter to Mr. Nemes that has been published as a small book. It begins: “Your film, ‘Son of Saul,’ is a monster. A necessary, coherent, beneficial, innocent monster.”

“Son of Saul” opened in France on Nov. 4 to largely positive reviews and a strong box office, until the Nov. 13 terrorist attacks sent a chill across Paris that has not lifted.

By SONY PICTURES CLASSICS 1:49 Trailer: 'Son of Saul' Continue reading the main storyVideo Trailer: 'Son of Saul' A prisoner in 1944 Auschwitz, forced to burn the corpses of his people, tries to save the body of a boy he takes for his own son. By SONY PICTURES CLASSICS on Publish Date November 22, 2015. Photo by Internet Video Archive. Watch in Times Video » Embed Share Tweet In Hungary, it was well received by critics and sold 100,000 tickets, a record for an independent film there. But critics were stunned by the silence of Hungarian officials about the success of a film so heavily underwritten by the state, a silence they saw as tied to Hungary’s reluctance to face its complicity in the deportation of more than 400,000 Hungarian Jews to Auschwitz in the spring of 1944.

Advertisement

Continue reading the main story Advertisement

Continue reading the main story

Mr. Nemes said that he had hoped more people would have seen his movie. “In Hungary, 100,000 is a lot for a Hungarian film, but why isn’t it like 500,000 people or a million, given that Auschwitz is the biggest Hungarian cemetery?” he said, adding that making the film had helped him reconnect with his Jewish heritage.

(The film also provoked the ire of a member of Parliament from the far-right Jobbik party, Elod Novak, who in 2013 wrote on Facebook that he was incensed it had received public financing and said that his party would “put an end to the Holocaust industry in filmmaking.”)

Born in Budapest, Mr. Nemes moved to France at 12 with his mother. He studied history at the Institut d’Études Politiques, or Sciences Po, in Paris, with stints at American universities, and is a highly informed and often ironic observer of European politics, trilingual in Hungarian, French and English.

After his brief time at N.Y.U., he worked as an assistant to the Hungarian director Bela Tarr for his 2008 film, “The Man From London.”

Still, Mr. Nemes arrived at Cannes a complete unknown and left with some critics declaring that “Son of Saul” was the strongest film in competition. At the closing-night party, the jury presidents, Ethan and Joel Coen, offered him their congratulations, while his mother looked on, stunned and beaming.

Mr. Nemes had wanted the film to make an impact, but he said he could not have predicted its success. “I hope it stays with people, so that it becomes personal,” he said. “People have to project themselves into this film.”

Palko Karasz contributed reporting from ­London.-->The New York Times. 14 December 2015


 * Iiii. fordert am 13. Mär. 2016 um 13:21 Uhr Belege für folgende Sätze:


 * 1: Obwohl vieles der fiktiven Handlung des Films angesichts der oft beschriebenen Brutalität in den Konzentrationslagern unglaublich klingt (Wer sagt, dass vieles der fiktiven Handlung des Films angesichts der oft beschriebenen Brutalität in den Konzentrationslagern unglaublich klingt?) Der damalige Satz ist nicht mehr vorhanden.
 * 2: die damit verbundenen Verzögerungen in der Mordmaschinerie hat in allen drei Beispielen wahrscheinlich zum Überleben vieler Häftlinge geführt, die sonst durch die SS vergast worden wären. Die SS versuchte anschließend jeweils die Spuren ihres Massenmords zu verwischen. (Wer sagt, dass das wahrscheinlich zum Überleben vieler Häftlinge führte?) Der damalige Satz lautet jetzt. Das, was du fragst ist Ergebnis einfacher Logik. Es infrage zu stellen widerspriht dem gesamten Vernichtungswillen der NS-Staatsführung seit 1933 bis 1945. Wo keine Gaskammer mehr, dort kann nicht damit gemordet werden. Ist dir klar: Was verlangst du also mit deinem angeblichen Quali-Anliegen? Es kommt einer Verhöhnung der KZ-Opfer sehr, sehr nahe.
 * 3: Die mit den Rollen verkörperten Personen haben keine konkrete Entsprechung Einzelner in der Literatur oder den überlieferten mündlichen Berichten über das Konzentrations- und Vernichtungslager Auschwitz. (Welche mündlichen Berichte sind das, die keine keine konkreten Entsprechungen mit den Figuren des Films aufweisen?) Nimmst du eigentlich nicht zur Kenntnis, dass ....


 * 4: Er reklamiert Preise, Würdigungen ist keine geeignete Abschnittsüberschrift in einem Filmartikel (s. Formatvorlage Film). --IgorCalzone1 (Diskussion) 13:21, 13. Mär. 2016 (CET) Der damalige Absatztitel ist nicht mehr vorhanden.

Was steckt hinter solchen Pseudo-Argu -Ketten?

Film-documentations about A

 * The Category Documentary_films_about_the_H…


 * Sounds


 * Photogr.

Topography of A.
i e Topographie und Alltag in einem Konzentrations- und Vernichtungslager.

Description
abstr pai

Processing four fotogr. of greekalex (mu pho)

Monowitz concentration camp today
at first subcamp of Auschwitz I concentration camp Vom Buna-Konzentrationslager sind nur Reste von gemauerten Schornsteinen erhalten, die sich heute auf Privatgelände befinden und abgerissen werden sollen. Westlich der Haupteinfahrt zum Betrieb steht ein Denkmal für die Opfer des Zwangsarbeitslagers.

but: Alfred Jungraithmayr u.a. Monowitz – ein Tatort (Deutschland 2002, Pio Corradis Kamera)


 * imdb 1729130


 * 4??
 * style="background:#fdd;"| Auschwitz III / Monowitz
 * style="background:#fdd;"| Poland
 * style="background:#fdd;"| concentration camp and labour camp
 * style="background:#fdd;"| Oct 1941 – Jan 1945
 * style="background:#fdd; text-align:right;"|135,000 min. in August 1944
 * style="background:#fdd; text-align:right;"|10,000 max. out of 10,000 rec. arrivals
 * style="background:#fdd;"| list of 48 sub-camps with description at the Auschwitz-Birkenau State Museum
 * style="background:#fdd;"|   neurby Oświęcim/Village Monowice
 * style="background:#fdd;"|   neurby Oświęcim/Village Monowice

Germ. Conc. Camps
concentration camp


 * Auschwitz-Birkenau - extermination camp - 1941-1945
 * Belzec - extermination camp (not ben. the ikl) - 17 March 1942 to the end of December 1942
 * Bergen-Belsen
 * Buchenwald
 * Chelmno - extermination camp (not ben. the ikl) -
 * Dachau - 1933 - 1945
 * Ebensee
 * Flossenbürg
 * Gross-Rosen - summer of 1940 – 14 February 1945
 * Janowska
 * Kaiserwald, Latvia, March 1943- August 1944
 * Majdanek, K.L. Lublin, October 1941 - July 1944, the extermination camp was captured nearly intact. Therefore, Majdanek became the first concentration camp discovered by Allied forces.
 * Mauthausen-Gusen
 * Natzweiler-Struthof
 * Neuengamme
 * Nordhausen (Dora-Mittelbau)
 * Sachsenhausen (Oranienburg)
 * Plaszow
 * Ravensbrück
 * Sobibor- extermination camp (not ben. the ikl) -
 * Stutthof
 * Terezin (Theresienstadt; not ben. the ikl) June 1940 - oct. 1944
 * Treblinka
 * Westerbork, July 1942 - april 1944

Lichtenburg concentration camp

 * Stefan Hördler, Lichtenburg ...
 * Stefan Hördler, Ordnung und Inferno, Das KZ-System im letzten Kriegsjahr. 2015, wallstein-verlag, 531 S. ISBN 978-3-8353-1404-7 (neuer Ansatz ab Jan. 44  ( verlagsangaben)

de: Seite der Sächs. Gedenkstätte Im Renaissanceschloss Lichtenburg - inmitten der Kleinstadt Prettin - bestanden in den Jahren von 1933 bis 1939 in zeitlicher Abfolge ein Männer-KZ, ein Frauen-KZ sowie 1942-1945 ein Außerlager des KZ Sachsenhausen (Arbeitskommando beim SS Zeugamt, 65 Mä).

The camps in Afr

 * Nach zweimaligem Frontwechsel in Benghazi wurde fast die gesamte jüdische Bevölkerung wegen Sympathie mit dem Feind in die Nafusa-Berge deportiert (also Nefausa). Im Hauptlager in Jado starb innerhalb von 14 Monaten fast ein Viertel der 2600 Insassen an Hunger und Typhus, bevor die Überlebenden im Januar 1943 durch die Engländern befreit wurden.< x ref :
 * Joachim Wilhelm Hirschberg: A History of the Jews in North Africa. 2. ed. Brill, Leiden, 1981, ISBN 90-04-06295-5 ??

Camps in germ. Version

 * Sonstige KZ-ähnliche Lager (27. Januar 2015) "Die Unterscheidung von Stamm- und Nebenlagern – auch Haupt- und Außenlager genannt – unterlag der Inspektion der Konzentrationslager (IKL).Andere Lager waren organisatorisch nicht an die IKL gebunden, sondern unterstanden z. B. einem örtlichen SS- und Polizeiführer (SSPF)." And that is the reason for dem. in the follow. days! ??

Judgment in Hungary, Eszter Hajdù
By Eszter Hajdú, hungarian director.

Dokumentarfilm, 107 Min., Ungarisch mit deutschen Untertiteln, 2013, Ungarn/ Deutschland

Between 2008 and 2009, extreme right-wingers assaulted several Roma settlements in Hungaria and killed six people.

The film captures the resulting trial in a unique way: Hajdú, together with her camera team, attended every trial session. Enriched by recordings of locations that were relevant for the trial.

In den Jahren 2008 und 2009 überfielen vier Rechtsextreme in Ungarn Roma-Dörfer und ermordeten dort sechs Menschen, unter ihnen auch ein fünfjähriges Kind.

Gegen vier Verdächtige wurde Anklage erhoben. Der Film „Judgment in Hungary“ dokumentiert den Prozess von … bis … zur Urteilsverkündung.


 * Judgment in Hungary


 * Eszter Hajdù, germ.
 * Eszter Hajdú (*1979 in Budapest/ Ungarn) studierte Elektronische Medien, Soziologie und Jüdische Kultur. Nach Filmseminaren in Italien und Rumänien nahm sie an der IDFA Festival Academy in Amsterdam teil. Zurzeit studiert sie an der Hochschule für Film- und Fernsehen in Budapest. Ihr Fokus liegt auf Dokumentarfilmen mit sozialpolitischen Thematiken. Für ihr aufsehenerregendes Werk „The Fidesz Jew, the Mother with no Sense of Nation, and Mediation“ wurde sie beim 40. Ungarischen Filmfestival und beim International Human Rights Documentary Film Festival Budapest ausgezeichnet.
 * Special Prize/Sonderpreis Strasbourg Europ. Parliament. 2016
 * Eszter Hajdu, 1979, film director. biogr


 * Der Prozess von Budapest : Civis – Europas Medienpreis für Integration, 2015 – Fernsehen, Bereich Information. Auf dem Filmfestival “goEast” mit dem Dokumentarfilmpreis „Erinnerung und Zukunft“ ausgezeichnet (Jahr ? ).
 * Titel auch als: Urteil von Budapest

Law o A
Lawrence of Arabia (1962) ** https://en.wikipedia.org/wiki/Mr._Dryden diplomat Mr. Dryden (Sir Ronald Storrs ?)