Tag Archives: world war 2

Mickey Mouse in the Gurs Internment Camp

There was once an internment/refugee camp in France that went by the name of Gurs. During WWII, after France joined up with the Nazis, Camp Gurs became home to non-French Jews and other “dangerous” people. Although this was a concentration camp, and obviously not a nice place to live, the people within Gurs were able to create for themselves a community that thrived on the arts. One prisoner, named Horst Rosenthal, created a couple of comic works before his death. One was titled “A Day in the Life of a Resident: Gurs Internment Camp, 1942”. I can’t find much about this one, but the other one, which a lot of people seem to love, is called “Mickey Mouse in the Gurs Internment Camp – Published without Walt Disney’s Permission.” Here are some panels:








you can read more about it in a paper titled: Mickey Mouse in Gurs – Humour, Irony and Criticism in Works of Art Produced in the Gurs Internment Camp.

scott

via Boing Boing, Scribd, and Disney History.

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movie challenge 2005: chapter 9

sorry everybody. i’ve been busy with band stuff and label stuff lately.

i’ve got a little bit of free time at the moment, so let’s get back into the movie challenge. right where we left off…

chapter 1, chapter 2, chapter 3, chapter 4, chapter 5, chapter 6, chapter 7, chapter 8

May 12th, 2005

i haven’t felt like doing anything but sleeping for a couple months now. it’s getting bad. i gotta get out of here.

Bones:

not as bad as i expected. it actually had some neat visuals early on, and snoop dogg wasn’t as dreadful as i expected him to be. however, the movie was boring. it never really went anywhere, especially anywhere unexpected, and the end just got stupid. it’s not even a movie to watch for a good chuckle. don’t bother with it.

 

The Boston Strangler:

made in 1968. just 4 years after the killings had ended. i really liked the cinematography and editing. richard fleischer did a lot of split screen shots and cool cropping. i found it rather artistic and unique. but like with all movies ‘based on actual events’, they didn’t really go for realism. actual events were changed to work into the plot twists and to fit the angle they were going for. they made the boston strangler into a split personallity disorder, which wasn’t correct or even speculated in the real case. one interesting thing about the real case is that many people think the boston strangler is still alive and living in the boston area. i found the real story to be fascinating, and recommend anyone interested in serial killers to look into it. i also recommend the film. it’s not accurate, but it’s a well done movie.


some images from: moviescreenshots.blogspot.com
 

The Bunker:

the title is dumb, and the cover is more dumb, but the movie wasn’t that bad. it’s about a small group of german soldiers during ww2. they’re in a bunker. they think the enemy is beginning to surround them, they’re running out of ammo, and they can’t get ahold of any other germans. to top it off, none of them really like each other, and the tunnels built beneath the bunker are supposedly haunted. you never really know if it is haunted, or if they’re just going crazy, or what. the movie never reallly gets suspenseful or anything. it’s decent and made on a small budget, but it seems like it could have been better.

 

Bram Stoker’s Dracula:

i actually didn’t like it much. maybe i expected too much from it? i dunno. i never got into it. i did like some of the visuals and effects and stuff, but it’s not gonna make it on my top horror movies list. i’m sorry. i know that coppola is supposed to be awesome, but he did not impress me at all with this film. and again i want to know why the fuck anyone would give keanu reeves any role more than ‘cop number 1’ or ‘shopkeep’ or ‘extra’.

 

scott

“Master Race” by Bernie Krigstein

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Bernie Krigstein is an unknown figure, even to most comic art devotees. I’ve been reading comics and books about comic history for most of my life, and sadly have only the most cursory knowledge of the man’s work. Most of what I do know comes from mentions made by Frank Miller acknowledging the mammoth influence Krigstein had on him. He was only in comics for less than a decade but during that time, and especially during his tenure with E.C. Comics, he experimented with a style based in gritty noir that was decades ahead of its time in how comics could be created, in its subject matter and pacing.

Even though his time at E.C. led to his most acclaimed work, he was still under the strict confines of his editors, who routinely changed his artwork and wouldn’t let his stories go over eight pages. The only time Krigstein was allowed to do a story exactly as he envisioned it was in the pages of “Impact”, a short-lived anthology title mostly made up of twist-ending shockers. Tucked away at the very back of the first issue of “Impact!” was “Master Race”, which, admittedly, could also be classified as a twist-ending shocker, with a major difference: It dealt explicitly with The Holocaust, something that was barely seen in mainstream media at the time, let alone in a comic book.

Taken from Wikipedia:

“When EC published “Master Race” in 1955, there was little in the mass media about the murder by the Nazis of millions of Jews, Gypsies, political oppositionists and homosexuals. The images of crowded gas chambers, mountains of corpses piled like cordwood, and smoke from the burning bodies continuously spewing out of tall chimneys had not yet established themselves in the public consciousness. The material was there, however. You just had to look for it. Margaret Bourke-White‘s Life magazine photograph of almost-dead staring faces behind barbed wire — shot at the evacuation of a concentration camp) at the end of World War II — was sometimes reprinted. This now-familiar photo is echoed in page four, panel five of “Master Race,” as well as in Art Spiegelman‘s 1972 version of Maus (in his book Breakdowns). Five Chimneys: The Story of Auschwitz, a harrowing account by Olga Lenyel, a death camp survivor, was published in 1947. Eugen Kogon’s Theory and Practice of Hell, detailing the horrible workings of the German death camps, was published in 1950. The facts began to surface about the incredible numbers murdered and the cold-blooded, single-minded efficiency with which it was done. Many Americans began to discuss the unspeakable crimes of the Holocaust, but most just found it all too hard to believe. Krigstein’s “Master Race” was therefore an exceptional undertaking. As their contribution to the anti-German propaganda effort, wartime movies and comic books had shown concentration camps and Nazi brutality. But never had they shown the death camps (as distinct from concentration camps) and the unique atrocities such as “medical” experimentation on living people… Krigstein’s piece didn’t spare the sensibility and complacency of the postwar reader. On page four, panel seven, ordinary citizens cover their noses with handkerchiefs against “the stinking odor of human flesh burning in the ovens… men’s… women’s… children’s…” Book burnings, mass live burials, a quiet clinical scene of an operation on a human guinea pig — “Master Race” starkly depicts the madness of the Nazi period in Germany as well as the burning vengeance inspired by these unspeakable crimes.”

It’s really a shame that Krigstein wasn’t given more control over his work, because if “Master Race” is anything to go by, the results would have been absolutely phenomenal. I’m excited to read the art book of his work published by Fantagraphics, in conjuction with a volume of his selected comics work. As for “Master Race”:

“Master Race” (Impact, No. 1, March/April 1955)

miloprometheus