Bob Fosse and Schindler's List (1993), dir.

Specifically, the film encourages (or at least permits) a viewsomething like, "Oh those Nazis ... they sure were badpeople ... it sure is a good thing we're not like that ..."or "we must never be like that ..." or "we mustnever let that happen again." The implication of all this isthat there was something aberrant about the Nazis. The film letsus isolate evil and distance ourselves from it in a way that isnot healthy. In this way, both overstatesand understates the problem of human evil.

The movie began in 1939, and Schindler was very into alcohol, womanizing, and making money.

The critical reception of Schindler's List is a intellectual discussion on the moral nature of a film through the ability to dramatize what was deemed impossible; critically selectively received with a social conscious, and a division on...

He made the film 'Schindler's List' primarily for education.

Schindlers List is a movie made to induce the mind into the unknown, the horrors of World War II.

This film was about the life of Oskar Schindler, the Nazi who saved many Jews from inevitable extermination during the Second World War and became a saviour to so many people.

Essay based on Schindler’s list movie | Premium …

Traditional academic practice has privileged the written work as the only "realistic" medium for representing historical reality, yet, as evident in Schindler's List, film can attain the same level of authenticity as the written work.

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In the United States, this issue has been taken up on a broad public level with Schindler's List, which allowed the subject to be dealt with in accordance with 1990s aesthetics.

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Most teachers welcomed the decision of the Holocaust Educational Trust to distribute free the video of 'Schindler's List' to every school in the country.

Schindler’s List Summary | GradeSaver

This black-and-white film, which is over three hours long, tells the inspiring and remarkable tale of German-Catholic industrialist Oskar Schindler, who bravely and uncharacteristically rescued some 1,200 Jews from death at Auschwitz.

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Finally, looking at the question from a personalist perspective, focusing on the spiritual impact negative rhetoric has on the acting person, Gotcher draws some preliminary conclusions, suggesting that we should be extremely cautious in using even legitimate negative rhetoric in any public forum, and, for the sake of our own souls, even be cautious in our more private interactions and in our own interior discourse.

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Consistently ranked as one of the top three films by the American Film institute, this gangster film sits among the likes of Citizen Kane (1941), Lawrence of Arabia (1962), and the more recent Schindler’s List (1993) (American).