Word: lifes
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Dates: during 1970-1979
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...participants themselves. Only last week a West Berlin court convicted a former SS doctor of having murdered scores of inmates at the Mauthausen concentration camp in Austria-"sometimes out of pure boredom," said the judge. For Yale Psychiatrist Robert Jay Lifton, who has spent much of his professional life examining disaster, understanding the doctors of the Holocaust has now become a particularly grim challenge...
...author of a notable study of Hiroshima survivors, Death in Life, and other examinations of disaster, Lifton is writing two books: one on Auschwitz doctors, another on the medical profession under Hitler. As Lifton told TIME Associate Editor John Leo, collaboration by doctors was crucial to the Nazis' warped success. Says Lifton: "Doctors were key agents in the Holocaust. They are enormously implicated in the killing...
...embodiment of Nazi political and racial ideology in its ultimate murderous form. The killing came to be projected as a medical operation." Incredibly, some came to see genocide as a health measure. Said one: "If you have a gangrenous growth, you have to remove it." Another commented coldly that life at Auschwitz was as routine as "building a sewage project." Against the background of a eugenics movement that gained unfortunate respectability in some scientific circles in Europe and America during the '30s, says Lifton, "many doctors came to see themselves as vast revolutionary biological therapists." The third ranking doctor...
...fear dying, one way to combat that dread is to look around for an enemy that symbolizes death. For the Nazis, it was the Jews, who had long been portrayed as Christ killers. Says Lifton: "If you view the Jews as death-tainted, then killing them seems to serve life." In Lifton's eyes, those who look upon the Nazis or their medical henchmen simply as maddened sadists are on the wrong track. "Most killing is not done out of sadism, not even most Nazi killing," says Lifton. The reality of medical participation in the Holocaust, as he sees...
...ADDITION to the constant movement of the camera, as well as the movement of characters/objects within a shot, the characteristic rhythm of New York life emerges on the screen through the order and juxtaposition of the sequences within the narrative flow. The principle of their organization is contrapuntal: a predominantly brightly lit sequence is succeeded by a dark one, while a long take is almost invariably replaced by a sequence composed of many edited shots (principally of characters conversing in close-ups). This concept of the film as a juxtaposition of visual events unforcefully related to each other...