{"id":48836,"date":"2025-10-13T19:54:43","date_gmt":"2025-10-13T19:54:43","guid":{"rendered":"https:\/\/historiografija.hr\/?p=48836"},"modified":"2025-10-13T19:54:43","modified_gmt":"2025-10-13T19:54:43","slug":"nicholas-k-johnson-scripting-genocide-the-wannsee-conference-on-television-1960-2022","status":"publish","type":"post","link":"https:\/\/historiografija.hr\/?p=48836","title":{"rendered":"Nicholas K. Johnson, \u201eScripting Genocide: The Wannsee Conference on Television, 1960\u20132022\u201c"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><em>Scripting Genocide<\/em> traces the history of how and why the Wannsee Conference has repeatedly attracted the attention of American, British, and German artists, writers, and filmmakers since 1960. Almost all of their televisual depictions of the conference itself are sparse, minimalist, dialogue-driven productions. Their subtle, almost scholarly projection of the conference stands in stark contrast to the large-scale and often critically acclaimed attention devoted to other aspects of the Holocaust in both big-budget theatrical films and European art cinema.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Scripting Genocide<\/em> investigates how the dramatic, fictionalized depictions of the Wannsee Conference offered filmmakers, and especially screenwriters, opportunities to be public historians. This book also contains the final interviews with screenwriters Paul Mommertz and Loring Mandel. Following the methods of the New Film History, which is grounded in archival production material, oral history interviews, and screenplay analysis, this book asks why and how filmmakers have grappled with portraying Wannsee in dramatic form since the 1960s. Each of these docudramas contributed to a diffuse body of work the author conceptualizes as &#8220;antifascist television.&#8221; In the end, all of these productions argue that words prefigure deeds.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Table of contents<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Frontmatter<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dedication<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Acknowledgements<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contents<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Glossary<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">People on Tuesday: An Introduction<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 1 Early Portrayals of the Wannsee Conference on American Television, 1960\u20131994<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 2 Psychoanalyzing Nazi Perpetrators on Television \u2013 Reinhard Heydrich \u2013 Manager of Terror (1977)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 3 A Production History of The Wannsee Conference (1984)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 4 The Wannsee Conference (1984) and its West German Reception<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 5 The Origins of HBO\u2019s Conspiracy and its Unproduced Sequel, Complicity, 1995\u20131997<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 6 Writing and Filming Conspiracy, 1998\u20132000<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 7 Wannsee as Prestige Television Drama and the fate of Complicity: 2001\u20132003<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chapter 8 The Conference and Portraying Holocaust Perpetrators in the 2020s<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Conclusion<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bibliography<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Index<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Nicholas K. Johnson<\/strong>, University of M\u00fcnster, Germany.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Open Access<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.degruyterbrill.com\/document\/doi\/10.1515\/9783111579450\/html\">https:\/\/www.degruyterbrill.com\/document\/doi\/10.1515\/9783111579450\/html<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":48837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[19,8,3],"tags":[],"class_list":["post-48836","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-e-knjige","category-knjige","category-novosti"],"acf":{"facebook_opis":""},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2025\/10\/Genocide.jpg?fit=800%2C1189&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":52625,"url":"https:\/\/historiografija.hr\/?p=52625","url_meta":{"origin":48836,"position":0},"title":"Omer Bartov, \u201eIsrael: What Went Wrong?\u201c","author":"Branimir Jankovi\u0107","date":"23. travnja 2026.","format":false,"excerpt":"Professor Omer Bartov was born on a kibbutz, grew up in Tel Aviv and served in the Israel Defence Forces during the Yom Kippur War. 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