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Stanley Kubrick’s film The Shining (1980) can be read as a central European imaginary retelling Thomas Mann’s The Magic Mountain (1924). The film constructs a dark meditation on the human condition not only through its formal and thematic focus on Mann’s novel but also through the lens of works by numerous other central European artists and scholars. Consequently, The Shining presents historical comprehension as the product not only of knowledge, but of experience, memory, and artistic representation/reception. Just as The Magic Mountain addressed itself to the crisis of European civilization that had culminated in the First World War, a deep-laid historical subtext in The Shining concerns the more desperate crisis facing the West in the wake of the Second World War. At its dark center, Kubrick’s horror film reflects its creator’s and its era’s struggle with the reality and representation of the Holocaust. [ABSTRACT FROM AUTHOR]

Hitzer argues that 'the history of "being diagnosed with cancer" should not be told as a straightforward story of liberation from the conventions of paternalistic dishonesty' (p. 154) and includes an illuminating discussion of Emperor Friedrich III whose death from laryngeal cancer in 1888 occasioned the first extensive coverage of cancer by the German media. While the book covers the history of cancer in both men and women, each chapter begins with a biographical or autobiographical portrait of a woman's experience with the disease. Bettina Hitzer, Heisenberg Fellow at the Hannah Arendt Institute for Totalitarianism Studies at the Technische Universität Dresden and I Privatdozentin i at the Freie Universität Berlin, has written what may fairly be called a definitive history of cancer in twentieth-century Germany. [Extracted from the article]

The article discusses the portrayal of Nazis in American motion pictures both during World War II and in the post-war period. Films considered include the 1943 "This Land Is Mine." the 1945 "Hotel Berlin," the 1946 "The Stranger," and the 1968 "Where Eagles Dare." Topics include Nazi uniforms used in films, the House Un-American Activities Committee and the motion picture industry, the Holocaust, and the depiction of evil.

C. G. Jung's involvement in the professional politics of psychotherapy in Nazi Germany was not a matter only of sympathy for and collaboration with Nazism. Jung's participation in the affairs of professionally endangered and ambitious psychotherapists under the advantageous leadership of a relative of the powerful Hermann Göring was both significant and limited in time and space. While Jungians found a place at the German Institute for Psychological Research and Psychotherapy in Berlin between 1936 and 1945, psychoanalysts and other psychotherapists-- purged of practitioners who were Jewish--advanced their interests and practice in ways that indirectly and directly supported the mobilization of German society for Nazi purposes of conquest and war. [ABSTRACT FROM AUTHOR]

The article presents a film criticism of the 1980 motion picture "The Shining," directed by Stanley Kubrick. The author asserts that the film features a strong cinematic subtext linking it to the Jewish Holocaust. Kubrick's personal connection to the issue as a Jewish film maker is outlined, suggesting that while Kubrick rarely addressed the subject direct, it manifested itself subconsciously in many of his films. Several elements of the film are then highlighted and analyzed in this frame, such as its color scheme, its use of monsters and supernatural evil, and its metaphorical connections to older German literature of the grotesque.

The article discusses the controversy around the existing modern self during the Nazis time in Germany. It cites that the Nazis made use of the professions of medicine and psychology to exploit the physical and mental capacity. It is argued that they instrumentalized the individual in service to the state and essentialized a self of race and will. In the pursuance of their aims, they had to rely on social control effected by propaganda and terror and on the contemporary dynamic of social discipline. Thus, it is noted that the modern tradition of self identification with nation had been compromised.

Provides information about the collection of essays in a special issue of the "International Forum of Psychoanalysis," edited by Zvi Lothane to place the history of psychoanalysis in the era of fascism into its full European context. Involvement of psychoanalysts and historians on the fate of psychoanalysis in Germany after the Nazi seizure of power in 1933; Field of psychodynamic theory and praxis; Views on the interdependence between the uniformities of structure and the peculiarities of culture.

Deals with the use of psychoanalytic approach in understanding the life and work of the film director Stanley Kubrick. Similarities between psychoanalysis and motion picture film; Beliefs of Kubrick; Analysis of the works of Kubrick.

Reviews the film `Die Ehe der Maria Braun [The Marriage of Maria Braun], directed by Rainer Werner Fassbinder. Women cast as protagonists in Fassbinder's films in his Federal Republic trilogy; More.

A letter to the editor in response to a review of the book "The State of Health: Illness in Nazi Germany," published in the February 2013 edition of the journal is presented, along with a response to the letter by the reviewer.

Reviewed: The Nazi Connection: Eugenics, American Racism, and German National Socialism. Kühl, Stefan.