By Theodore Plievier
Berlin is the final of Theodore Plievier's vintage trilogy of global battle II.
A urban ripe for rape
The battle in Europe is sort of over. From East and West the Allied armies are converging at the ruins of Berlin. Luftwaffe pilots are despatched on suicide missions to ram enemy bombers.The Nazi management prepares for suicide, those that attempt to flee the holocaust are became again with threats and bullets. quickly Russian troops are within the urban itself, mopping up wallet of fanatical resistance in determined, sour battles* They paintings over town with a house-to-house insurance of looting, gunfire -and rape. Berlin’s lengthy apocalypse has begun…
1945 The Nazi forces are in complete retreat in every single place Europe. Hitler's evil empire is crumbling hour through hour. underneath the ruined streets and structures of Berlin, the Fuehrer grows ever extra demented, ordering military divisions that not exist into battle，sending bomber pilots on suicide ramming missions opposed to the advancing Russians. quickly the rattle of small-arms hearth, the explosions of mortar shells，the rumble of tank tracks and the tough cough of anti-tank weapons may be heard within the suburbs of the Reich's capital. Harsh, bloody house-to-house conflict has come to Berlin because the triumphant Soviet troops flush out German squaddies ordered to struggle to the final bullet - even to struggle on with their naked arms. yet resistance is futile. quickly Berlin is totally overrun. A as soon as proud urban is submerged in panic, looting, fireplace and rape.
Theodor Plievier, even supposing bom in Germany，left his local nation in 1933 on the upward thrust of Hitler. He fought with the Soviet forces in international conflict II. hence, each observe of his warfare books contains the unmistakable mark of overall authenticity.
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Additional info for Berlin
1 Oskar Garvens, “Der Bildhauer Deutschlands,” 1933. The Swastika World and the Aesthetics of Resistance 31 the process of aestheticization as illustrated by fascist cultural policies, aesthetic propaganda and the proliferation of the swastika as the fascist icon, we can both better contextualize and explain what antifascist aesthetics developed in reaction to, and provide a blueprint for the conception and critical functioning of radical projection in antifascist ﬁlm. In 1933 artist Oskar Garvens likened the artistic medium of fascism to sculpture.
As Berthold Hinz explains, the Nazi pictures evidenced “precisely the characteristics required for successful reproduction; and, when reproduced, they look like 34 The Aesthetics of Antifascist Film a quasi-photographic representation of nature” (332). They represented a desired reality, and the exhibit seemed to assert that it was as easy to achieve as simply believing that art was real, representing a world in stark contrast to the modernist works exhibited just around the corner. The Nazis had been trying to establish a pure German culture since the public book burning in 1933 in Berlin, billed as an “action against the unGerman spirit,” and the second exhibition, the infamous Entartete Kunstausstellung (Degenerate Art Exhibit), was a culmination of the official antagonism towards modern art (Ades 20).
Even those whose critiques were guarded were likely to end up in trouble, however, as fascists tended to lack a sense of humor about themselves. Even intellectual dissent practiced by students, such as writing and distributing illegal leaﬂets and painting slogans on walls, could result in dire consequences. For example, Munich’s antifascist student group of friends, the White Rose, distributed thousands of antifascist ﬂyers before brother and sister Hans and Sophie Scholl were apprehended in 1943.
Berlin by Theodore Plievier