Killing on a mass scale using gas chambers or gas vans was the main difference between the extermination and concentration camps. From the end of 1941, the Germans built six extermination camps in occupied Poland: Auschwitz II-Birkenau, Majdanek, Chełmno, and the three Operation Reinhard camps at Belzec, Sobibor, and Treblinka II. Maly Trostenets, a concentration camp in the Reichskommissariat Ostland, became a killing centre in 1942. Gerlach writes that over three million Jews were murdered in 1942, the year that "marked the peak" of the mass murder of Jews. At least 1.4 million of these were in the General Government area of Poland.
Within the 191.97-ha serial property – which consists of three component parts: the former Auschwitz I camp, the former Auschwitz II-Birkenau camp and a mass grave of inmates – are located the most important structures related to the exceptional events that took place here and that bear testimony to their significance to humanity. It is the most representative part of the Auschwitz complex, which consisted of nearly 50 camps and sub-camps.
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
The deportation of Jews to the ghettos culminated in the policy of extermination the Nazis called the "Final Solution to the Jewish Question", discussed by senior Nazi officials at the Wannsee Conference in Berlin in January 1942. As German forces captured territories in the East, all anti-Jewish measures were radicalized. Under the coordination of the SS, with directions from the highest leadership of the Nazi Party, killings were committed within Germany itself, throughout occupied Europe, and across all territories controlled by the Axis powers. Paramilitary death squads called Einsatzgruppen, in cooperation with Wehrmacht police battalions and local collaborators, murdered around 1.3 million Jews in mass shootings between 1941 and 1945. By mid-1942, victims were being deported from the ghettos in sealed freight trains to extermination camps where, if they survived the journey, they were killed in gas chambers. The killing continued until the end of World War II in Europe in May 1945.
For the role, Spielberg cast then relatively unknown Irish actor Liam Neeson, whom the director had seen in a Broadway play called Anna Christie. “Liam was the closest in my experience of what Schindler was like,” Spielberg told The New York Times. “His charm, the way women love him, his strength. He actually looks a little bit like Schindler, the same height, although Schindler was a rotund man,” he said. “If I had made the movie in 1964, I would have cast Gert Frobe, the late German actor. That’s what he looked like.”
As Nazi tyranny spread across Europe, the Germans and their collaborators persecuted and murdered millions of other people. Between two and three million Soviet prisoners of war were murdered or died of starvation, disease, neglect, or brutal treatment. The Germans targeted the non-Jewish Polish intelligentsia for killing, and deported millions of Polish and Soviet civilians for forced labor in Germany or in occupied Poland, where these individuals worked and often died under deplorable conditions.
Historians differ on the date of the decision to murder Jews systematically, the so-called “final solution to the Jewish question.” There is debate about whether there was one central decision or a series of regional decisions in response to local conditions. In either case, when Germany attacked the Soviet Union, its former ally, in June of 1941, the Nazis began the systematic killing of Jews.
As long as Rosé remained in charge of the orchestra, it maintained a fairly high level of skill and a large repertoire. The musicians participated in strenuous rehearsals and even more stressful concerts and private performances. Although the vast majority of their music-making was (with the exception of the daily march music) for the benefit of the SS and the small group of ‘elite’ prisoners, the orchestra would occasionally give special concerts to the regular inmates, and make visits to the infirmary. However, upon Rosé's sudden and mysterious death on 4 April 1944, the orchestra began to slowly crumble. Rosé was replaced by the Ukrainian pianist and copyist Sonya Winogradowa, who, although liked by the other musicians, was not a particularly effective leader. At the end of 1944, the non-Jewish members were sent to Auschwitz I, while the Jews were deported to Bergen-Belsen. Relatively many survived the war.
The process of selection and murder was carefully planned and organized. When a train stopped at the platform, veteran prisoners received the victims and gathered their belongings in several barracks in an area known as “Kanada.” The arrivals were lined up in two columns – men and boys in one, women and girls in the other – and SS physicians performed a selection. The criterion was the appearance of the prisoners, whose fate, for labor or for death, was determined at will. Before they entered the chamber, they were told that they were about to be disinfected and ordered to undress. The doors of the chamber were locked and the gas was introduced. After the victims were murdered, their gold teeth were extracted and women’s hair was shorn by the Sonderkommando – groups of Jews forced to work in the crematoria. The bodies were hauled to the crematorium furnaces for incineration, the bones were pulverized and the ashes were scattered in the fields.
In her new book, Not for the Faint of Heart, Ambassador Sherman takes readers inside the world of international diplomacy and into the mind of one of our most effective negotiators―often the only woman in the room. She discusses the core values that have shaped her approach to work and leadership: authenticity, effective use of power and persistence, acceptance of change, and commitment to the team. She shows why good work in her field is so hard to do, and how we can learn to apply core skills of diplomacy to the challenges in our own lives.
Blitzkrieg also has had some influence on subsequent militaries and doctrines. The Israel Defense Forces may have been influenced by blitzkrieg in creating a military of flexible armored spearheads and close air support. The 1990's United States theorists of " Shock and awe" claim blitzkrieg as a subset of strategies which they term "rapid dominance".
German operational theories were revised after the First World War. The Treaty of Versailles limited the Reichswehr to a maximum of 100,000 men, making impossible the deployment of mass armies. The German General Staff was abolished by the treaty but continued covertly as the Truppenamt (Troop Office), disguised as an administrative body. Committees of veteran staff officers were formed within the Truppenamt to evaluate 57 issues of the war. By the time of the Second World War, their reports had led to doctrinal and training publications, including H. Dv. 487, Führung und Gefecht der verbundenen Waffen (Command and Battle of the Combined Arms), known as das Fug (1921–23) and Truppenführung (1933–34), containing standard procedures for combined-arms warfare. The Reichswehr was influenced by its analysis of pre-war German military thought, in particular infiltration tactics, which at the end of the war had seen some breakthroughs on the Western Front and the manoeuvre warfare which dominated the Eastern Front.
For a better sense of reality, Spielberg originally wanted to shoot the movie completely in Polish and German using subtitles, but he eventually decided against it because he felt that it would take away from the urgency and importance of the images onscreen. According to Spielberg, “I wanted people to watch the images, not read the subtitles. There’s too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else.”