Memory is not something that is acquired once and stays on forever. The moment that the last eyewitnesses and survivors pass away, we have to work together to build on that which remains: the testimonies of those former prisoners and the authentic artifacts connected with Auschwitz. Each item can have its own enormous meaning and should find its place in the collection of the Auschwitz Memorial. Here, it will be preserved, studied, and displayed. Its place is here.
New arrivals to the Auschwitz camp complex were immediately sorted into two groups, those on the left and those on the right. The few in the right-hand group would be sent to one of the various camps within Auschwitz to become forced labourers. The remaining majority were sent to Birkenau, otherwise known as Auschwitz II, where they were gassed and cremated. Birkenau, the death camp of Auschwitz, was also one of the few places where, historians confirm, music regularly accompanied selections and mass murder. Former inmate Erika Rothschild remembered this macabre accompaniment:
British theorists J.F.C. Fuller and Captain B. H. Liddell Hart have often been associated with blitzkrieg's development, though this is a matter of controversy. The British War Office did permit an Experimental Mechanised Force, formed on 1 May 1927, that was wholly motorized including self propelled artillery and motorised engineers. It is argued that Guderian, a critical figure in blitzkrieg's conception, drew some of his inspiration from Liddell Hart. This was based on a paragraph in the English edition of Guderian's autobiography in which he credits Liddell Hart. In opposition, it is argued that Liddell Hart, as editor of the autobiography's English edition, wrote that paragraph himself or, more broadly, that his influence on Guderian was not as significant as held. Fuller's influence is less clear. During the war, he developed plans for massive, independent tank operations and was subsequently studied by the German leadership. It is variously argued that Fuller's wartime plans and post-war writings were an inspiration, or that his readership was low and German experiences during the war received more attention.
In March 1941, Himmler ordered a second, larger complex to be built next to the original camp. It was called Auschwitz II - Birkenau. The camp at Birkenau was divided into subsections surrounded by electric fences with barbed wire. During 1943 and 1944 the BIIb section became the location of the „Terezín family camp“. At its summit, Birkenau had over 100 000 inmates. In March 1942, the Auschwitz III camp was set up at nearby Monowitz, also known as Buna Monowitz. German company I.G. Farben set up a synthetic rubber factory there, in which it used the prisoners' slave labour. Auschwitz also had a further 45 auxiliary camps, where prisoners were forced to engage in slave labour, mostly for German companies.
The job was then offered to legendary filmmaker Martin Scorsese, who accepted. Scorsese was set to put the film into production when Spielberg had an epiphany on the set of the revisionist Peter Pan story Hook and realized that he was finally prepared to make Schindler’s List. To make up for the change of heart, Spielberg traded Scorsese the rights to a movie he’d been developing that Scorsese would make into his next film: the remake of Cape Fear.
Auschwitz was the Nazis' largest concentration and extermination camp. It was founded on Himmler's orders on the 27th of April 1940, close to the small Polish town of Oświęcim. The first inmates - mostly Polish political prisoners - were brought there in June 1940 and were used for slave labour. By March 1941, more than 10 000 prisoners were registered here. The Auschwitz camp was renowned for its harshness, with the most infamous being Block 11 (known as the bunker), where prisoners received the cruellest punishments. In front of it stood the „black wall“, the site of frequent executions. The inscription „Arbeit macht frei!“ above the main gate of the original camp at Auschwitz was merely a cynical mockery.
In order to gain a more personal perspective on the film, Spielberg traveled to Poland before principal photography began to interview Holocaust survivors and visit the real-life locations that he planned to portray in the movie. While there, he visited the former Gestapo headquarters on Pomorska Street, Schindler’s actual apartment, and Amon Goeth’s villa.
In the Sinai and Palestine Campaign, operations involved some aspects of what would later be called blitzkrieg. Key elements in the "blitzkrieg warfare" at the decisive Battle of Megiddo included concentration, surprise and speed; success depended on attacking only in terrain favoring the movement of large formations around the battlefield and tactical improvements in the British artillery and infantry attack. General Edmund Allenby used infantry to attack the strong Ottoman front line in co-operation with supporting artillery, augmented by the guns of two destroyers. Through constant pressure by infantry and cavalry, two Ottoman armies in the Judean Hills were kept off-balance and virtually encircled during the Battles of Sharon and Nablus (Battle of Megiddo).
Near the end of the movie Schindler’s List, a famous scene depicts Oskar Schindler departing his factory at the end of the war and crying without consolation over his inability to save even more lives. (The scene was even parodied in an episode of Seinfeld.) “The idea that Oskar collapsed sobbing into Itzhak Stern’s arms and bemoaned his failure to save more Jews is preposterous,” writes Crowe. “Oskar was proud of all he had done to save Brunnlitz’s Jews and said so in his speech earlier that evening.”
German-occupied Denmark rescued most of its own Jews by spiriting them to Sweden by sea in October 1943. This was possible partly because the German presence in Denmark was relatively small. Moreover, while anti-Semitism in the general population of many other countries led to collaboration with the Germans, Jews were an integrated part of Danish culture. Under these unique circumstances, Danish humanitarianism flourished.
In the first few decades after the Holocaust, scholars argued that it was unique as a genocide in its reach and specificity. This began to change in the 1980s during the West German Historikerstreit ("historians' dispute"), an attempt to re-position the Holocaust within German historiography. Ernst Nolte triggered the dispute in June 1986 with an article in the Frankfurter Allgemeine Zeitung: "Vergangenheit, die nicht vergehen will: Eine Rede, die geschrieben, aber nicht mehr gehalten werden konnte" ("The past that will not pass: A speech that could be written but not delivered"), in which he compared Auschwitz to the Gulag and suggested that the Holocaust was a response to Hitler's fear of the Soviet Union: "Was the Bolshevik murder of an entire class not the logical and factual prius of the 'racial murder' of National Socialism? ... Was the source of Auschwitz a past that would not go away?"[aa]
Schwerpunktprinzip was a heuristic device (conceptual tool or thinking formula) used in the German army since the nineteenth century, to make decisions from tactics to strategy about priority. Schwerpunkt has been translated as centre of gravity, crucial, focal point and point of main effort. None of these forms is sufficient to describe the universal importance of the term and the concept of Schwerpunktprinzip. Every unit in the army, from the company to the supreme command, decided on a Schwerpunkt through schwerpunktbildung, as did the support services, which meant that commanders always knew what was most important and why. The German army was trained to support the Schwerpunkt, even when risks had to be taken elsewhere to support the point of main effort. Through Schwerpunktbildung, the German army could achieve superiority at the Schwerpunkt, whether attacking or defending, to turn local success at the Schwerpunkt into the progressive disorganisation of the opposing force, creating more opportunities to exploit this advantage, even if numerically and strategically inferior in general. In the 1930s, Guderian summarised this as "Klotzen, nicht kleckern!" ("Kick, don't spatter them!").
Perhaps the most famous orchestra to have come out of Birkenau was the women’s orchestra. Known through Fania Fénelon’s memoirs and the movie Playing for Time, this group — the only all-women SS-sponsored musical organisation established under Nazi internment — was founded in the spring of 1943. Originally directed by the Polish inmate Zofia Czajkowska, it reached its peak under the guidance of the violin virtuoso and conductor Alma Rosé. As with other camp bands, the women were required to play at the gates every morning and evening, to accompany the workers’ arrival and departure from the camp. This job won them the animosity of many prisoners, who remembered returning to their barracks, sick, exhausted, and often carrying or dragging their dead comrades, while
Defined by the religion of their grandparents rather than by their own beliefs, Jews were viewed as having impure blood lines. The new laws were taught in schools, cementing anti-Semitism in German culture. Most Germans kept quiet, often benefiting when Jews lost jobs and businesses. Persecution of other minorities also escalated: the police were given new powers to arrest homosexuals and compulsory abortions were administered to women considered to be ‘hereditarily ill’.
Irena Adamowicz Gino Bartali Archbishop Damaskinos Odoardo Focherini Francis Foley Helen of Greece and Denmark Princess Alice of Battenberg Marianne Golz Jane Haining Feng-Shan Ho Wilm Hosenfeld Constantin Karadja Jan Karski Valdemar Langlet Carl Lutz Aristides de Sousa Mendes Tadeusz Pankiewicz Giorgio Perlasca Marion Pritchard Ángel Sanz Briz Oskar Schindler Anton Schmid Irena Sendler Klymentiy Sheptytsky Ona Šimaitė Henryk Sławik Tina Strobos Chiune Sugihara Casper ten Boom Corrie ten Boom Johan van Hulst Raimondo Viale Raoul Wallenberg Johan Hendrik Weidner Rudolf Weigl Jan Zwartendijk