Oświęcim is a Soviet propaganda film (35mm black and white, of about 20 minutes in two reels) centering around the liberation of Auschwitz concentration camp, known in Polish as Oświęcim. The footage was shot directly after the liberation between January and May 1945 by camera operators of the Soviet army. The cameramen that filmed were Mikhail Ochourkov, Nikolai Bykov, Kenan Kutub-Zade, Alexander Vorontsov and Anatoly Pavlov and the editing was done by Yelizaveta Svilova.see Yuri Scherbakov, “Operator Kenan Kutub-Zade from Rostov Film Studio [Frontovoi Kinooperator Kenan Kutub-Zade Rostovskoi Kinostudii],” ascinemadoc, accessed 15.03.2024, http://ascinemadoc.ru/frontovoy-kinooperator-kenan-kutub-zade-rostovskoy-kinostudii/. During the liberation of Auschwitz also photographers and artists were present. Some of Zinovii Tolkachev's drawings closely resemble shots from Oświęcim, as they depict the same scenes captured in the film.

Together with the Soviet propaganda film "" (that deals with the liberation of the concentration camp "Majdanek" near Lublin), Oświęcim is the main source for audiovisual footage of Nazi concentration camps situated in Poland. Only the piles of corpses filmed in Bergen-Belsen by the British liberators have a similar iconic status. The child survivors showing their number tattoos, the camp gate of Auschwitz 1 with the motto "Arbeit macht frei", the areal shot of the barracks in Auschwitz-Birkenau, the emaciated camp inmates behind barbed wire and the piles of glasses, shoes and suitcases today are considered icons of the Holocaust.

Like the film about Majdanek and like the US-American, British and French re-education films (such as Death Mills, KZ, Deutschland erwache! and Les camps de la mort), Oświęcim does not acknowledge Jews as the main group of victims.in the course of the roughly twenty minutes, the narration of Oświęcim mentions Jews a single time, in a list of the many nationalities represented by the inmates This omission is striking given that the vast majority of those murdered at Auschwitz-Birkenau — and the majority of survivors encountered by the camera crews — were Jewish. In the case of Oświęcim, this absence was a direct result of Soviet censorship in Moscow, which mandated a focus on Soviet citizens as the primary victims.see Drubek-Meyer, Natascha. Filme über Vernichtung und Befreiung: Die Rhetorik der Filmdokumente aus Majdanek 1944–1945. Wiesbaden: Springer VS, 2020, p. 20.

The remaining material from the liberation of the camp, which was not used in this film, is stored in the Russian State Archive for Film and Photo Documents in Krasnogorsk. The Chronos documentary "Die Befreiung von Auschwitz" (The Liberation of Auschwitz, 1986) is based on this material. A 35mm copy of 1500 meters in length is stored in the German Federal Archives.

Popcultural references Material from Oświęcim appears in other films such as (selection): Film Documents of the Atrocities of the German Fascist Invaders (shown at the Nuremberg trials 1945), Death Mills (1945), Strange Victory (1948), Daleka Cesta (1949), Mein Kampf (1960), The 81st Blow (1974), Pillar of Fire (TV series) (1981), The Yellow Star: The Persecution of the Jews in Europe 1933–45 (1981), Genocide (1981 film), The Last Days (1998), Shoah, les oubliés de l’histoire (2014), The Number on Great-Grandpa's Arm (2018), The U.S. and the Holocaust (2022)

Screenshots Selection of well known shots from Oświęcim.

See also

References

Further reading

Bruttmann, Tal. Auschwitz. Paris: La découverte, 2015. Drubek-Meyer, Natascha. Filme über Vernichtung und Befreiung: Die Rhetorik der Filmdokumente aus Majdanek 1944–1945. Wiesbaden: Springer VS, 2020. Mucha, Stanislaw. Oświęcim-Brzezinka KL Auschwitz-Birkenau. Krakow: Stowarzyszenie “Opieka nad Oświęcimiem,” 1948. Scherbakov, Yuri. “Operator Kenan Kutub-Zade from Rostov Film Studio [Frontovoi Kinooperator Kenan Kutub-Zade Rostovskoi Kinostudii].” ascinemadoc. Accessed 15.03.2024. http://ascinemadoc.ru/frontovoy-kinooperator-kenan-kutub-zade-rostovskoy-kinostudii/.

Shneer, David. Through Soviet Jewish Eyes. Photography, War and the Holocaust. New Brunswick/New Jersey/London: Rutgers University Press, 2011. Stone, Dan. The Liberation of the Camps. The End of the Holocaust and Its Aftermath. New Haven/London: Yale University, 2015. Strzelecki, Andrzej. The Evacuation, Liquidation and Liberation of Auschwitz. Oświęcim: Auschwitz-Birkenau State Museum, 2001. Szczepanska, Ania. “Filmer l’usine de mort : stratégies cinématographiques des opérateurs polonais et soviétiques à Maïdanek.” In Filmer la guerre : les Soviétiques face à la Shoah (1941–1946), ed. Valérie Pozner, Alexandre Sumpf, Vanessa Voisin, 104–108. Paris: Mémorial de la Shoah, 2015.

Wieviorka, Annette. Auschwitz, 60 ans après. Paris: Robert Laffont, 2005.

External links

German version at the Bundesarchiv