"Taking sides" (2001) - фильм Иштвана Сабо по пьесе Рональда Харвуда про Вильгельмa Фуртвенглерa и его дилемму.
Speaking from his London home, the droll, precise Harwood - who won a screenwriting Oscar for "The Pianist" - said he tried not to take sides while writing the play and the film. "I attempted to make both arguments compelling because I want viewers to ask themselves what they would have done in Furtwängler’s place," he said. "’Was protesting from the inside a legitimate moral response to Hitler? Can art remain separate from politics?’ These are some of the questions I want people to explore." <...> Harwood’s analysis of an artist’s responsibility under a dictatorship personally resonated for the Hungarian Szabo ("Sunshine"), who survived the communists and won a 1981 Oscar for "Mephisto," about a Nazi-era actor. "The audience must be able to pick up on the contemporary dilemma in the conflict," he said of "Taking Sides." "Is it right and justifiable to survive a dictatorship by compromises?" Harwood wondered how outspoken
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Реальный спор Манна и Фуртвенглерa о "двух Германиях" и образ полковника Дымшица в исполнении Олега Табакова.
For Furtwängler, there were always two Germanys. ‘Hitler's propaganda has increasingly silenced the real Germany,’ he wrote in his notebook in 1945. ‘Of anyone who condemns Germany today [and by inference we can assume he also meant those who stayed], one can only say that he does not know Germany. Since for twelve years Germany has been silent.’ Mann was to counter, when the same line was taken in their correspondence two years later: ‘There are not two Germanys, a good and a bad one, but only one, whose best turned into evil through devilish cunning.’ But Furtwängler clung to this belief in the ‘two Germanys,’ a belief he had already worked out for himself before the end of the war. In 1944, he had declared in his notebook: ‘I am one of the most convincing proofs that the real Germany is alive and will remain alive. The will to live and work in me is, however critically I view myself, that of a completely unbroken nation.’
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Во время войны граждане Японии, Германии и Италии на территории США, в том числе еврейские беженцы из Германии, не успевшие получить американское гражданство, официально записывались в категорию "enemy aliens".
The Alien Enemies Act (“AEA”) provides that the President, pursuant to proclamation, may deem all aliens of a “hostile nation” within the United States alien enemies and determine the manner in which they may be “apprehended, restrained, secured and removed.” (50 USC 21) Following Pearl Harbor, FDR did exactly that. Presidential Proclamations 2525-2527 which follow are virtually identical, except for the nation specified. Proclamation 2525 (applicable to Japanese aliens) also sets forth the regulatory restrictions on alien enemies which were incorporated by reference into Proclamation 2526 (Germans) and Proclamation 2527 (Italians), so that all nationalities were treated identically under the AEA
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В феврале-марте 1942 комиссия Конгресса под руководством конгрессмена Джона Толана, демократа из Калифорнии, провела выездные слушания на западном побережье (Лос Анджелеса, Сан Франциско, Сиэттле и Портленде) по вопросу выселения "enemy aliens
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"Taking sides" (2001) - фильм Иштвана Сабо по пьесе Рональда Харвуда про Вильгельмa Фуртвенглерa и его дилемму.
Speaking from his London home, the droll, precise Harwood - who won a screenwriting Oscar for "The Pianist" - said he tried not to take sides while writing the play and the film.
"I attempted to make both arguments compelling because I want viewers to ask themselves what they would have done in Furtwängler’s place," he said. "’Was protesting from the inside a legitimate moral response to Hitler? Can art remain separate from politics?’ These are some of the questions I want people to explore." <...>
Harwood’s analysis of an artist’s responsibility under a dictatorship personally resonated for the Hungarian Szabo ("Sunshine"), who survived the communists and won a 1981 Oscar for "Mephisto," about a Nazi-era actor.
"The audience must be able to pick up on the contemporary dilemma in the conflict," he said of "Taking Sides." "Is it right and justifiable to survive a dictatorship by compromises?" Harwood wondered how outspoken ( ... )
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For Furtwängler, there were always two Germanys. ‘Hitler's propaganda has increasingly silenced the real Germany,’ he wrote in his notebook in 1945. ‘Of anyone who condemns Germany today [and by inference we can assume he also meant those who stayed], one can only say that he does not know Germany. Since for twelve years Germany has been silent.’ Mann was to counter, when the same line was taken in their correspondence two years later: ‘There are not two Germanys, a good and a bad one, but only one, whose best turned into evil through devilish cunning.’ But Furtwängler clung to this belief in the ‘two Germanys,’ a belief he had already worked out for himself before the end of the war. In 1944, he had declared in his notebook: ‘I am one of the most convincing proofs that the real Germany is alive and will remain alive. The will to live and work in me is, however critically I view myself, that of a completely unbroken nation.’ ( ... )
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The Alien Enemies Act (“AEA”) provides that the President, pursuant to proclamation, may deem all aliens of a “hostile nation” within the United States alien enemies and determine the manner in which they may be “apprehended, restrained, secured and removed.” (50 USC 21) Following Pearl Harbor, FDR did exactly that. Presidential Proclamations 2525-2527 which follow are virtually identical, except for the nation specified. Proclamation 2525 (applicable to Japanese aliens) also sets forth the regulatory restrictions on alien enemies which were incorporated by reference into Proclamation 2526 (Germans) and Proclamation 2527 (Italians), so that all nationalities were treated identically under the AEA ( ... )
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