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Ich klage an ([ˈʔɪç ˈklaːɡə ʔan]; English: I Accuse) is a 1941 Nazi German pro-euthanasia propaganda film directed by Wolfgang Liebeneiner[1] and produced by Heinrich Jonen and Ewald von Demandowsky.
Euthanasia Online Movie
This film was commissioned by Nazi propaganda minister Joseph Goebbels at the suggestion of Dr. Karl Brandt, to make the public more supportive of the Aktion T4 euthanasia program.[6] Key scenes from the film were personally inserted by Victor Brack, one of the prominent organisers of the program and later a convicted war criminal. The actual victims of T4 were in fact killed without their consent, or that of their families.[7] Indeed, one cinema goer is alleged to have compared the film to the program and naively asked how abuses could be prevented from creeping into it.[8]
The SS reported that the churches were uniformly negative about the movie, with Catholics expressing it more strongly but Protestants being equally negative.[9] Opinions in medical circles were positive, though there were doubts, especially though not exclusively in cases where patients thought to be incurable had recovered.[10] Legal professions were anxious that it be placed on a legal footing, and in the few polls that were commissioned, the general population were said to be supportive.[11]
The film will help Americans understand what MAID actually is, and what it is not. Medical aid in dying is not suicide, euthanasia, or many of the other things with which it is sometimes confused. The film will also encourage people to have conversations with their family and their physicians about what they want at the end of their lives, and to have those conversations early.
The Sea Inside (Spanish: Mar adentro) is a 2004 Spanish psychological drama film co-written and directed by Alejandro Amenábar, who also co-produced, scored and edited. It is based on the real-life story of Ramón Sampedro (played by Javier Bardem), who was left quadriplegic after a diving accident, and his 28-year campaign in support of euthanasia and the right to end his life. The film won the Academy Award for Best Foreign Language Film.
Ramón's friend Gené, who works for an organisation fighting for the right to die, puts him in contact with Julia, a lawyer. As she seeks to learn more about him and his situation in order to fight for his cause, he recounts his past and his reasons for wanting to die: He says that there is no dignity in living paralysed. After seeing his story online, Rosa visits Ramón to convince him to live. He demands that she respect his wishes and she leaves, upset. Later, whilst DJing her part-time radio show, she apologises on air in the hopes that he is listening. She continues to visit, bringing her children, and the two strike up a friendship. Despite romantic interest in both women, Ramón maintains that he is spoken for by death.
Ramón's deep-seeded belief in the concept of dignity sits at the center of his argument as he fights for his legal right to die. The Sea Inside isn't simply a filmed debate on the issue of euthanasia; it's an intensely personal representation of the life of one disabled man who wanted the court to recognize his right to choose life or death. Amenábar remains true to the story, which necessarily means portraying the very real and very vocal objection to Sampedro's decision by many people both in and out of his life.
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Salaam Venky is the true story of Kolavennu Venkatesh, a young boy who suffered from Duchenne Muscular Dystrophy, a rare form of dystrophy that will bring him to death. He died in 2004, and his death sparked a national debate about euthanasia in India. if(typeof ez_ad_units!='undefined')ez_ad_units.push([[580,400],'auralcrave_com-large-leaderboard-2','ezslot_2',109,'0','0']);__ez_fad_position('div-gpt-ad-auralcrave_com-large-leaderboard-2-0');
Let me first offer a bit of background regarding the history of Nazi film. During the 1920s, Germany had developed one of the world's most sophisticated and successful film industries. After Adolf Hitler became Chancellor (in 1933), Joseph Goebbels--Hitler's Minister of Propaganda-moved swiftly to take control of the German film industry. (4) That same year, Goebbels set up the Reich Chamber of Film as the agency for purging the film industry of "undesirables" and guiding the production of "useful" movies. As the Nazis took control in 1933, about 1,500 industry players fled, including major producers (such as Erich Pommer, head of Germany's largest studio, UFA), eminent directors (such as Fritz Lang, Robert Siodmak, Douglas Sirk, and Billy Wilder) and star actors (such as Marlene Dietrich and Peter Lorre). It is worth noting that apparently Goebbels offered Fritz Lang--director of one of the greatest silent films in history, Metropolis--the job of head of the Nazi propaganda film unit, but Lang emigrated instead.
In 1936, Goebbels--who had earlier forced journalists into a division of his Propaganda Ministry--outlawed film criticism, and replaced it with "film observation" in which the journalist could only describe films, not critique them. Also in that year, the Nazis effectively banned foreign films, and by 1937 had nationalized the film industry entirely. At that point, the Nazi film industry had two major (and reinforcing) goals: first, to provide the German public with entertainment that was at least consistent with (and preferably supportive of) the Nazi weltanschauung ("worldview"); and second, to produce outright propaganda movies to create...
Weekly readings will be marked by where they can be found: bookstore (see Course Book List); book reserve, ereserve, or online for articles available for downloading from the web. Note that many of the articles and excerpts are available in books on reserve. For class reading questions and discussion forums go to the Course Moodle Page.
Growing Up Online. PBS Frontline Documentary, 2006. Documentary looking at the massive impact of the internet on U.S. middle class childhood (watch online).Digital Nation. PBS Frontline Documentary, 2010. Follow up to Growing up Online. (watch online).
Wilf, E. Y. (2013). From Media Technologies That Reproduce Seconds to Media Technologies That Reproduce Thirds: A Peircean Perspective on Stylistic Fidelity and Style-Reproducing Computerized Algorithms. Signs and Society, 1(2), 185-211. [Against the backdrop of a long research tradition in linguistic and semiotic anthropology that has focused almost exclusively on media technologies that reproduce Seconds, that is, specific texts in modalities such as sound and the visual image, this article focuses on media technologies that reproduce Thirds, that is, generative dispositions responsible for the production of such Seconds. It explores contemporary attempts in the United States and France to develop computerized systems that, with the aid of specific algorithms, can abstract and enact the styles of different past jazz masters, as well as the styles of players who interactively improvise with such systems in real time. Drawing on Peircean semiotics, the article offers an analysis of these media technologies, their present application in the field of online consumption, and the cultural specificity of the Third that plays a key role in their development and reception, namely, style.]
Loubere, Nicholas and Stefan Brehm. 2018. "The Global Age of Algorithm: Social Credit and the Financialisation of Governance in China," 38-43 (5 pp, scroll down). Made in China, Vol. 3, No. 1, 2018. (online) 2ff7e9595c