Music in the Holocaust

Citizen Kane is arguable the most admired and significant film since the advent of talking pictures. To study it even briefly is to learn a great deal about American history, motion-picture style, and the literary aspects of motion-picture scripts. This volume will represent the essential writings on Kane. It gives the reader a lively set of critical interpretations, together with the necessary production information, historical background, andtechnical understanding to comprehend the film's larger cultural significance.In Music in the Holocaust Shirli Gilbert provides the first large-scale, critical account of the role of music amongst communities imprisoned under Nazism. She documents a wide scope of musical activities, ranging from orchestras and chamber groups to choirs, theatres, communal sing-songs, and cabarets, in some of the most important internment centres in Nazi-occupied Europe, including Auschwitz and the Warsaw and Vilna ghettos. Gilbert is also concernedwith exploring the ways in which music - particularly the many songs that were preserved - contribute to our broader understanding of the Holocaust and the experiences of its victims. Music in the Holocaust is, at its core, a social history, taking as its focus the lives of individuals and communities imprisonedunder Nazism. Music opens a unique window on to the internal world of those communities, offering insight into how they understood, interpreted, and responded to their experiences at the time.