Outputs (18)

Screen Identities. Maximilian Schell and The Man in the Glass Booth (2019)
Book Chapter
Ward, E. M. (2019). Screen Identities. Maximilian Schell and The Man in the Glass Booth. In H.-P. Reichmann, & I. L. Bastian (Eds.), Maximilian Schell (90-97). DFF - Deutsches Filminstitut & Filmmuseum

Revisiting the crimes of the past: the image of the perpetrator in recent German Holocaust film (2019)
Journal Article
Ward, E. M. (2019). Revisiting the crimes of the past: the image of the perpetrator in recent German Holocaust film. Holocaust Studies, 27(2), 339-349. https://doi.org/10.1080/17504902.2019.1637503

More than seven decades after the liberation of concentration camps across Europe, we are witnessing the jostle between communicative and cultural memory to determine how the Holocaust is inscribed in a post-victim and post-perpetrator world. This ar... Read More about Revisiting the crimes of the past: the image of the perpetrator in recent German Holocaust film.

Marc Rothemund’s Sophie Scholl — Die letzten Tage (2005) (2019)
Book Chapter
Ward, E. M. (2019). Marc Rothemund’s Sophie Scholl — Die letzten Tage (2005). In A. Lloyd (Ed.), The White Rose: Reading, writing, resistance (79-96). Taylor Institution Library

Review of "Screening Auschwitz: Wanda Jakubowska's The Last Stage and the Politics of Commemoration" by Marek Haltof (2019)
Journal Article
Ward, E. M. Review of "Screening Auschwitz: Wanda Jakubowska's The Last Stage and the Politics of Commemoration" by Marek Haltof. Studies in European cinema, https://doi.org/10.1080/17411548.2019.1580025

Book Review

Review of "Re-Imagining DEFA: East German Cinema in its National and Transnational Contexts" edited by Seán Allan and Sebastian Heiduschke (2018)
Journal Article
Elizabeth M. Ward. (2018). Review of "Re-Imagining DEFA: East German Cinema in its National and Transnational Contexts" edited by Seán Allan and Sebastian Heiduschke. The Modern language review, 113(2), 447-448. https://doi.org/10.5699/modelangrevi.113.2.0447

Who is Heinz Stielke? Questions of Identity in Michael Kann’s "Stielke, Heinz, fünfzehn" (2018)
Book Chapter
Ward, E. M. (2018). Who is Heinz Stielke? Questions of Identity in Michael Kann’s "Stielke, Heinz, fünfzehn". In S. Ehrig, M. Thomas, & D. Zell (Eds.), The GDR today: New interdisciplinary approaches to East German history, memory and culture (43-62). Peter Lang

Michael Kann’s debut film, Stielke, Heinz, fünfzehn [Stielke, Heinz, Fifteen] (1987), was supposed to signal the thematic, artistic and popular renewal of one of the core interests of East German cinema, the antifascist film. Yet upon release, the fi... Read More about Who is Heinz Stielke? Questions of Identity in Michael Kann’s "Stielke, Heinz, fünfzehn".

Dismantling the Third Reich: in Cate Shortland's Lore (2017)
Journal Article
Ward, E. M. (2017). Dismantling the Third Reich: in Cate Shortland's Lore. Film and History, 47(1), 18-27

Review of "Mothers, Comrades, and Outcasts in East German Women’s Film" by Jennifer L. Creech (2017)
Journal Article
Ward, E. M. (2017). Review of "Mothers, Comrades, and Outcasts in East German Women’s Film" by Jennifer L. Creech. The Modern language review, 112(3), 750-751. https://doi.org/10.5699/modelangrevi.112.3.0750

Contesting the memory of Frank Beyer’s "Jacob the liar" (2016)
Book Chapter
Ward, E. M. (2016). Contesting the memory of Frank Beyer’s "Jacob the liar". In D. M. Seymour, & M. Camino (Eds.), The Holocaust in the Twenty-First Century: Contesting/Contested Memories (163-181). Routledge. https://doi.org/10.4324/9781315647968-18

In August 1992, the final curtain fell on East German filmmaking. Established in 1946, three years before the founding of the German Democratic Republic (GDR) under the auspices of the Soviet Union, the state-sponsored film studio Deutsche Film-Aktie... Read More about Contesting the memory of Frank Beyer’s "Jacob the liar".

Review of "DEFA after East Germany" edited by Brigitta B Wagner (2016)
Journal Article
Ward, E. M. (2017). Review of "DEFA after East Germany" edited by Brigitta B Wagner. Studies in European cinema, 14(1), 82-83. https://doi.org/10.1080/17411548.2016.1234839