124 Into the Limelight

Eichmann as "the other Adolf'-a reminder that Eichmann wäs,matel¡ a surrogate figure. By presenting the evolution of the Nazis,Jewish policies in terms of one persont motives and actions , EngineerDeath deviated from what was known of the advent of the Final solutias a complex corporate enterprise. However, the drama's narrative pleled the Israeli agenda to try Eichmann as the metonym for all Nazi

sented during the proceedings in Jerusalem.

criminals, dead or missing, who collaborated on the plan to annihilEuropean Jewry. vhile Engineer of Death anticipated the triar's princistrategy, the docudrama also offered a psychological coherence and com-pleteness that would be found lacking in the pãrtrait of Eichmann pre-

mer concentration camp of Dachau, it also transports viewers -to anothe¡dimension, a dimension not only of sight and sound, but of mind, a journeyinto a wondrous land whose boundaries are that of imaginatio, . . . the Twi-ligþtzone-' "Death's Head Revisited," rvritten by the seriest creator, RodSerling, appeared on The Tutiligbt Zone (cBS, ry59-19651during its third,season.l'7 Like other episodes of the science-fictiol ,.ri.r, i, or., ,op.rn"r-ural settings and events, realized through a variety of special-effects rech-niques, to explore social and ethicar issues relevant to contemporaryAmerican audiences in the form of otherworldly "morarity plays."los

The half-hour drama begins as a former ss captain rr"-.d Lutze (playedby oscar Beregi) returns to the town of Dachau seventeen years after the ,

end of vorld'war II. Lutze plans a nostalgic visit to the former concentra-tion camp, his "old haunts." "what he does not know,,' serling narrates,'is that a place like Dachau cannor exist only in Bavaria. . . . By its verynature, it must be one of the populated areas of the Twilight Zone.,,

Lutze arrives at the deserted camp. As he strolls "borri its landmarks-

former gallows, barracks, and offices-ghostly images of inmates, dressedin striped uniforms, fade into view and disappear. Lutze's sadistic reminis-cences are disrupted by the sudden "pp."r"rr.. of a man (Joseph schild-kraut) in a striped prisoner's uniform, who stands in front of one of thecamp buildings. He welcomes the astonished Lutze, addressing him as"captain": "'we've been waiting." Lutze recognizes the man al A[r.d

The Man in tbe Glass Box 125

.Death,s Head Revisited': victims of Nazi persecution at Dachau rise from the dead to

tryoneoftheirtormentorsforcrimesagainsthumanityinthis196repisodeofRodSer-lng'sTwilight Zone. (Rod Serling Archives, Ithaca College')

Becker and tells Becker to stop calling him "Captain," as he is no longer a

soldier: .,That,s all in the p"ri. . . . It's utterly ridiculous to dwell on these

things. You did as you thought best and I . . . functioned as I was told." The

winã howls; Becker informs Lutze that it is the sound of his victims'protesting his dismissive apology: 'Ten million human beings were tortured

io d."thîr, camps like this. . . . And you wonder that the misery that you

planted has lived after You?"A nightmarish sequence follows, in which Lutze finds himself sur-

,oorrd.J by a group of stern-faced m n in prison uniforms' Among them is

Becker, who announces that the inmates of Dachau will try Lutze for.crimes against humanity." As his trial begins, Lutze loses consciousness'

vhen he awakens, Becker informs Lutze that the trial is already over; he

has been found guilty and a sentence has been handed down: "From this

day on you shall be rendered insane'"Lutze runs for the gate to the camp; Becker appears suddenly at his side'

*At this gate you shot do-n hundreds of people with machine_guns. Doyou feel ì, ,ro*, Captain? Do you feel the bullets smashing into your

fody?" The sound of machine-gun fire is heard; Lutze writhes in pain and

,r"gg.r, across the courtyard. Becker continues to lead Lutze from one part

of t1-. ."*p to another, iescribing the suffering of the Nazi's victims at each

site. Lutze screams, ráels from f1".. to place, and eventually falls to the

126 Into the Limelight

ground as if he were having a violent seizure. Becker stands over the tor-mented man and concludes: "If there's still any portion of your mind thatcan function, take this thought with you: This is nor hatred, this is retribu-tion. This is not revenge, this is justice. But this is only the beginning, Cap-tain. . . . Your final judgment will come from God."

The epilogue to "Death's Head Revisited" fades up on a shot of police-men, a taxi driveq and a doctor standing over a heavily sedated La,ø,e.As twomen pick him up and carry him off, the doctor and the driver wonder whatcould have turned Lutze into a "ravingmaniac" in the n¡¡o hours since thedriver left him at the gate. The doctor surveys the camp and asks, ,.Dachau . . .W'hy do we keep it standing?" As the camera pans around the camp, Serlingresponds off camera: "All the Dachaus must remain standing . . . becausethey are a monument to a moment in time when some men decided to turnthe earth into a graveyard. Into it they shoveled all of their reason, theirlogic, their knowledge-bur worst of all, their conscience. And themoment we forget this . . . then we become the gravediggers. something todwell on and to remember-not only in the Twilight zone, but wherevermen walk God's earth."

The fictitious villain of "Death's Head Revisited,' is a metonym forNazism, similar to the role the acual Eichmann played in the Jerusalemtrial and that of the virtual Eichmann in Engineer of Death. (serling's scripthints at the parallel befween Eichmann and.Lutze through the occasionaldetail, such as his changing his name and seeking refuge in south Americaafter the war.) unlike the psychohistory of the Armstrong circle Theaterdrama, "Death's Head Revisited" explains the origins of Nazism as asupernatural, absolute evil, stripped of its ties to history whether personalor global. The Tutilight Zone d,rama further simplifies and abstracts thecomplex particulars of the Eichmann trial by reducing it, in effect, to a con-test between two men.

Moreover, thanks both to the rechnical capabilities of television film andto the liberating possibilities of the science-fiction genre, "Death's HeadRevisited" offered viewers the compelling spectacle of the victims ofNazism rising from the dead to bring their persecuror ro justice. unlikeEichmannt much-debated fate-the internarional press was full of sugges-tions as to how he might be appropriately sentenced by the Israeli court-Lutze's punishment provided viewers with the satisfaction of seeing thedepraved tormentor become the victim of his own tortures.lOe

Both "Death's Head Revisited" and Engineer of Deatb conclude bytransforming their dramas of the evils of the historical past into lessons foran abstracted future. Yet these dramas admonish audiences with moralsthat run counter to the thrust of their narratives. After spending an hourperforming a psychohistory of Eichmann that shows him to be the primemover behind the Nazi persecution of European Jewrg Engineer of Death

The Man in the Glass Box L27

concludes that its protagonist is "less a man than a symbol of the ultimatehorror of tyranny." Similarl¡ after poftraying the evils of Nazi war crimi-

Toutard "the Cinéma V'érité of Due Process":The EichrnannTrial and Holocaust Memory Culture

this consciousness-and of media literary in general-at the time.

range of preva ese:

Eichmann's ca thehmann's senten and

the ethical lessons that it imparted-The surveys paid special attention to any indications of change in Amer-

icans, a6itudes aboui Jews, Germans, German¡ and Israel in the wake of

LzO Into the Limelight

their informants followed the Eichmann trial on television as opposed toother media, these studies offered no analysis of the impact that televisionmight have had on responses to the case. The research did indicate thattelevision had contributed significantly to the public's awareness of theEichmann trial. According to The Apathetic Majority,68 percent of theinformants for the university of california stud¡ who were all residents ofthe San Francisco Bay area, said that television news reports were one oftheir sources of information on the Eichmann trial, and z5 percent citedtelevision specials as a source (compared to 78 percent for newspapers, 65percent for radio news reports, 4r percent for conversation, and 36 percentf.or magazines). Aside from providing these sraristics, however, Tbe Apa-thetic Majority only questioned the value of the trial's television coverage.The study concluded that "whar mosr distinguishes the knowledgeablefrom the unknowledgeable is the tendency of the former to rely on the writ-ten word, rather than the broadcast media, as a source of informatioo.'113

Literary scholar Sidra Ezrahi has argued thar relecasrs of the Eichmanntrial did help galvanize American writers in the r96os by "forcing its entryinto the homes of all Americans who committed the minimal act of turningon their television sets.' In literary responses to the Holocaust, which were"catalyzed" by the trial, American writers such as Arthu¡ A. Cohen, IrvingFeldman, Arthu¡ Miller, Sylvia Plath, Charles Reznikoff, Norma Rosen, andIsaac Rosenberg focused not so much on the events that took place duringthe Nazi era but on "the moral options which prevailed in those times andwhich could be repeated under similar circumstances.' Influenced byA¡endt's notion of understanding Nazism as a manifestation of the "banalityof evil"-which served as "the filter through which most Americans \Mereable to conceptualize what \Ãias otherwise a morass of indigestible, uninte-grable f¿ç¡s"-{t¡.rican writers tended to relate to the Holocaust *not pri-marily as a historical event," Ezrahi has suggested, "but as a complex ofpsychological possibilities.' 114

In the months following the trial, the Eichmann case also continued toinspire new television documentaries, dramas, and news affairs broadcasts.These, too, demonstrate how the rial served as a point of entry for addressing arange of larger issues, including the history of Nazism and efforts to save Euro-pean Jews during Vorld'W'ar II, as well as Germany's postwar response to theNazi era and anti-Sem¡a¡r*.11s Bur major histories of American television ornews broadcasting do not mention the Eichmann trial coverage, despiteclaims made in 196r that telecasts of the proceedings were a milestone in thedevelopment of international broadcast journalism.ll6 And despite its land-mark status in the history of Holocaust documentation and commemoration,the trial telecasts have had a less enduring impact on American Holocaustremembrance than have either other contemporary phenomena-such as the

The Man in tbe Glass Box 729

film version of. lud.gnent at Nurernbetg or the English-language edition of Elie

Viesel's Nighi, Uoìt of which appeared during r96r-ot more recent tele-

J*d pr.r.ritations of the Holocaust. Afid, while American Jews have turned

to Israeli culnrre for an authoritative response to the Holocaust in more recent

d.."d.r, they are much more likely to encounter Israel's relationship with the

Holocaust in local Yom ha-Sho'ah commemorations, visits to the Yad vashem

memorial in Jerusalem' or grouP tours of former extermination camps inpoland that ctnclude with avisit to Israel (such as the March of the Living)

than through any institutionalized recollection of the Eichmann trial.117

That telecasts of the Eichmann trial did not become a fixture of American Holocaust memory culture might be rooted in an inherent contradic-

tion between the electionic media and the law, which, according to legal

scholar Ethan Katsch, "would not be possible without the special proper-

ii., ,f print.,,118 At tL. same time, the problematic aspects of the trial as

p.rfor-"t.. might also be attributed, in part, to the nature-of trials as

social rituals. Political scientists Lance Bennett and Martha Feldman have

written that for trials to "make sense to untrained Participants, there must

besomeimplicitframeworkofsocialjudgmentthatpeoplebringintothecourtroom from everyd ay llfe'" To that end, Bennett and Feldman have

argued, criminal trials in America and other'Western democracies are orga-

niled around the quotidian activity of storytelling' Through presenting evi-

dence in the form of narratives' the participants in the modern courtroom:,.rrg"g. some parallel form of social judgment that anchors legal questions

in everyday understandings. "ll9In the case of the Eichmann trial, a number of factors complicated, per-

h"f, .u"r, confounded, the ability of storytelling to provide the public withaciessible and persuasiu. "rg,r*.rrts

fr r the guilt or innocence of the defen-

dant. The Israeli gorn.rrr-.,,t's ambitious, multivalent agenda for the trialpresented one set of challenges' The overall s to

fe told, wh5 and by whom was debated not the

trial. In the course of the proceeding l, nume e of

them from the Israeli judles hearing the case, about the relevance of testi-

*orr5 particularly durin! the weeks of stories offered by dozens of sur-

vivors of the Holocaust.l2oThe multiple audiences that the trial addressed also challenged the effec-

dveness of its storytelling. From a legal perspective, the proceedings were

directed solely at Àr." *rr-the Israeli judges who sat on the bench and

eventually handed down the verdict. As a public event, however, the trialwas geneially acknowledged to have a wide array of audiences' both withinIsrae-í and "ioorrd

the wãrld. Catering to these various audiences posed a

challenge ro the prosecution in determining what stories to tell, who should

tell them, and how they should be told'

150 Into the Limelight

The trial's repeated identification of the Holocaust as an atrocity unri-valed in scope, its events beyond description, rwas no doubt intended toimpress listeners with the exceptional horror of the event. yet this alsoimplicitly challenged the ability of trial participants ro use storyrelling as aneffective means of bringing about justice. The rambling, incoherent testi-mony of Yehiel De-Nur and his evenrual collapse on the witness stand-one of the most often shown moments from the trial footage-presentsviewers with the spectacle of the inability to oÍf.er narrai'e. Arendt w¡otethat this incident, "to be sure, was an exception, but if it was an exceptionthat proved the rule of normaliry it did not prove the rule of simpricþ orof ability to tell a story.'121

By presenting the Holocaust as an event that tests the boundaries ofhuman communication, ethics, and justice, Eichmann's prosecutors ineffect challenged the ability of the trial, and the stories that it told, to fulfillits agenda of serving justice. The fact that Eichmann was successfully pros-ecuted and eventually executed did not mitigate the sense of the trial's "fail-ure" as a performance. Many observers considered the convictionineffectual, anticlimactic, or a confirmation of the inability of justice tomake amends for the enormity of these crimes.

Disparities between the agendas of the Israeli government conducting theEichmann trial and of American and other foreign journalists covering theevent further complicated the trial's effectiveness as an adjudicating narra-tive and as a landmark of Holocaust memory. Israel envisioned the trial asan opportunity to articulate its authority over the Holocaust and therebylegitimate its sovereignty as a Jewish nation. Therefore, ir was essential thatthe prosecution present the Nazi persecution of European Jewry as a phe-nomenon both central and exceptional within the full range of activities ofthe Third Reich. However, journalists reporting on the Eichmann case togeneral American audiences repeatedly conceptualized the trial as an eventprimarily of universal significance, raising questions about the nature of evilin the individual psyche and humankind's universal moral responsibility.

This expansive presentation of the Eichmann case may have been a bid toattract a largely non-Jewish audience to watch the proceedings-in effect, toscript a role that American specrators might play in this public performance.American television's approach to covering the Eichmann case also evincesthe industry's larger concern, during the early r96os, with rehabilitating itstarnished reputation by asserting its role as a moral voice for the nation. yetAmerican television did not simply mediate the trial's already ambitious sym-bolic agenda, but further complicated its meaning as a social drama.

ln 196r, the decision to televise the Eichmann trial was considered bothnovel and controversial. while some hailed the notion of broadcasting the

The Man in the Glass Box 151

on international television as a valuable and forward-movingothers expressed concern that the very Presence of cameras in the

would violate the trial's integrity and dignity. As a concession toconcerns, the Israeli government limited the number of cameras per-

itted in the courthouse to those of one production compan¡ and theirwhile no secret, was concealed from view. Indeed, Capital Cities's

tive producer, Milton Fruchtman, prided himself on having renderedlocation of his cameras invisible. As a colleague recalled, Fruchtman

"said that neither the judges nor a corps of experts were able to detect where

the cameras were placed when they made pre-trial tours" of Beit Ha'am.r22

Ilrc decision to conceal the cameras placed the television crew in the posture

of a hidden surveillance team. Their absence from the spectacle-in con-

trast, sa)¿, to the visibility of camera crews and photographers at Press con-,ferences or public hearings-indicates the court's inability to acknowledgethe connection television provided to spectators beyond the confines of Beit

He'am, let alone to recognize the implications of the camera's Presence.Aside from the issue of courtroom decorum, the decision to conceal the

cemeras evinces a generalinnocence, among the press as well as the Israelicultural force on the uial as atrial usually characterized theailable to international televi-

sion broadcastets as an act that, in effect, enlarged the gallery of Beit Ha'amto include millions of television viewers from several dozen countries' The

on closed-circuit television in Jerusalem's Ratisbonne Hall:

As it into focus with the bailiffpeeri mbers to wait for the three

men the judges came into sightthe bailiff spun around to call the sPectators in court to order. "Beit Hamish-pat!' he barked (the words mean "courr' in Hebrew).'without stopping tolhittk ,h"a they were more than a block away from the courtroom, the attor-neys [who were watching the trial] in Ratisbonne Hall jumped respectfully tothei¡ feet.123

But whereas these Israelis, watching live television for the first time,naiTely failed to distinguish the virtual from the actual (much like the firstaudiences of silent film at the rurn of rhe centur¡ who jumped from theirseats to avoid being hit by the image of a locomotive heading toward

152 Into the Limelight

them), many Americans were still naïïe in their acceptance ocoverage of the trial as a simulation of the actual experience <;, -^-Beit Ha'am. Not only did the trial footage offer viewers images-suchclose-ups of Eichmann's face or hands-unavailable to courtroom specte-tors, but American television then transformed this "actuality' through theprocess of selecting and editing excerpts of the footage, reengineering imultilingual soundtrack, and contextualizing it through reporters' com-mentaty and supplementary coverage. Knowing that millions were able towatch Eichmann also shaped the prosecution's case, which was addressedmore to its invisible legion of auditors and viewers rhan to the adjudicatingtribunal. Awareness of the trial's vast television audience in the UnitedStates affected the way American journalists and others discussed Eich-mann and his case, directing the focus away from the historical events ofthe Holocaust or the Israeli context of the trial and onto the defendant'sphysical presence and the proceedings as a performance. Thus, Eichmann'sinscrutable, antispectacular presence may have made A¡endt's explanationof the case as a lesson in the "banality of evil' seem a particularly apt v¡ayof understanding the trial and the historical events that it recounted.

As the first major televised presentation of aca¡al courtroom proceedings,the Eichmann trial anticipated by th¡ee decades rhe advent of Court TV, theAmerican cable channel devoted exclusively to presenting scenes of cou¡t-room actuality from current trials along with commentary and other relatedfeattrres, which began transmitting in July ry9r. Discussion of the effective-ness and legitimacy of Court TV have retraced key issues debated in r964such as whether the presence of cameras in the courtroom compromises itsdigrity or otherwise adversely affects the proceedings. Yet the discussion hasalso demonstrateð a more sophisticated level of media literac¡ as commen-tators consider the aesthetics of what one of them has dubbed 'the cinémavérité of due process."t24 Iî contrast, the lack of consciousness of televi-sion's impact on the Eichmann trial-understandable, perhaps, in light ofthe novelty of the enterprise-may have prevented American viewers fromthinking of it as an enduring, culorally defining "media event.'

Thanks in considerable measure to television, the Eichmann trial arousedextensive American interest in the Holocaust and inspired a tange of worksof Holocaust memory cultu¡e. However, the trial's presentation on televisiondid not itself become a fixtu¡e of the nation's public memory. Indeed, ratherthan enhancing the Eichmann trial's potential to become a fixture of Ameri-can Holocaust remembrance, television coverage contributed to its problem-atic status as a cultural landmark. At the time of the Eichmann trial, theissue of presenting the Holocaust on American television barely arose as asubject of discussion-and would not do so until late in the next decade.

fiueA Guest in the Wasteland

The years between the Eichmann trial of :J96r and the premiere broadcast

of thl minise nes Holocaust in x978 constitute a transition in televised pre-

sentations of the Holocaust. critics have often characterized American tele-

vision programming during these years as routinized' lacking the

iooorn"tiu.tt.ss of the r95os' à.rd, "t its worst, having devolved into a cul-

tural "wasteland." nt tú. same time' the r96os and r97os witnessed the

rise of television to a preeminent status among America's mass media. Sim-

ilarl¡ while this period offered no major works to rival the landmarkbro"d."rt, at its boundaries, the years between 196r and t978 saw the

Holocaust become an increasingly frequent, even routine, presence on

American television.In programs rangmg from news documentary to science fiction' the

Holo."orlt emerged durirrg th.te years as a regular, if occasional' subject

within American television's repertoire. These broadcasts help establish a

distinct Holocaust iconography and recurrent thematic approaches to the

subject. In particular, American television used the Holocaust as a point ofentry into more general issues-the limits of justice, the consequences ofintoleran.e, or the nature of evil-demonstrating the development of the

Holocaust as a moral paradigm in general American culture. The programs

of this period also indìcate .h"ng., in how American Jews understood the

Holocaost, responsive to their increasing distance from'world'war II and

to the stabilization of both a strong postwar community in the unitedStates and a viable State of Israel.

Although histories of American broadcast media rarely mention televis-

ing the Eichmann trial as one of the major events of. 196r, they do often

,eãogni"e this year as a watershed in the medium's development. Coincid-

i.rg.;ith the start of John F. Kennedy's presidenc¡ 196r inaugurated "theexlanding vista', thai television offered as mediator and shaper of national

"rrà -orlã news. The year also marked television's arrival as a major force

in American culture, áominating the nation's "republic of mass culture'"1

155

276 Notes to pages 78-86

includes these "blanked out" references to gas, which occur during the screening ofNazi Concentration Camps as well as in dialogue.

74. "Tele Follow-up Comment: Playhouse 9o:' p. 46-75. The voice-over narration of the commercial, accompanying scenes of a fam-

ily vacation at a lake in the countryside (boating, making a campfire) runs, in part,as follows: "Adventure ahead-only seconds to take this wonderful picture. Butthat's time enough for Mom and her new Ansco Cadet-the 'A-plus' snaPshot cam-era from Ansco that's always ready when you are. Hasn't this happened to you?You see agfe^tpicture like this-but it's gone before you can focus your camera.But not with the Cadet. . . . You've got it-iust as you saw it. "

76. As cited in New York Graphic Societ¡ Life: The First Decade: 19 j6-r945(Boston: Little, Brown, 1979)' p. 17r.

Part Two: lnto the Llmelleht

r. Leon A. Jick, ..The Holocast: Its use and Abuse within the American Public,"YadVashem Studies 14 (r98r): pp. 3r2-1r3.

z. As cited from the New Yorþ Times in International Center for Holocaust Stud-ies, Anti-Defamation League of B'nai B'rith, The Holocaust in Books and Films: ASelected, Annotated List, 3rd ed. (New York: Hippocrene, 1986 ItgZSl),p- Z-

Chapter 4. The llan ln the Glass Box

r. The word Holocaust is used during the proceedings to translate the Hebrewterm sho'ah, which can be heard in prosecutor Gideon Hausner's summation, forexample, in the documentary Verdict for Tomorrotz (see note 59 for this chapter).

z. For an EnglishJanguage record of the Eichmann trial proceedings, see In tbeDistrict Court of Jerusalem, Criminal Case No. 4o/6r. The Attorney-General of tbeGouernment of Israel u. Adolf, the Son of Adolf Karl Eicbmann: Minutes of Ses-

siozs (Jerusal em, rg6f); The Trial of Adolf Eichmann: Record of Proceedings in theDistrict Court of lerusalem (Jerwalem: The Ministry, r99z).

3. Robert Hariman, ed., Popular Trials: Rltetoric, Mass Media, and the Laut(Tuscaloosa: University of Alabama Press, r99o), p. r.

4. For a bibliography of works on Eichmann's life and Nazi career, see RandolphL. Braham, The Eichmann Case: A Source BooÈ (New York: World Federation ofHungarian Jews, 1969\, items nos. rz-69.

5. Gideon Hausner, Justice in Jerusalem (New York: Harper and Row, 1966),

Pp. z7o,272.6.TomSegev,Tbe Seuenth Million: The Israelis and tlte Holocaust, trans. Haim

'Watzman (New York: Hill and \lang, 1997ìr,P. 124.7. For sources on the pursuit and capture of Eichmann, see Braham, The Eicb-

mann Case, items nos. 70-99. See also Peter Z. Malkin and Harry Stein, Eicltmannin My Hands (New York: 'Warner, ry9o). The Man Who Captured Eichmann, a

Notes to Pdges 86-90 277

television drama based on Malkin's memoir and starring Robert Duvall as Eich-

indictment, see American JeøishCommittee; PhiladelPhia: Jewisharrative summary of the course of

the trial, see Léon Poliakov, "The Eichmann Trial: The Proceeditgs," American

Eichmann trial, see Braham, Tbe Eich-Jochen von Lang and Claus Sibyll, eds',tbe Arcbiues of the Israeli Police, ttans'

(New York: Free Press, r99Ð, PP. 241-z6o'rr. Hariman, Popular Trials, pp- zr' 3'rz. The United Nations adiudicated Argentina's comPlaint that Israel violated its

laws by abducting Eichmann from Buenos Aires in Security Council meetings nos'

865-868 (zz-23 June 196o).13.Hausnet' Justice in Jerusalem, p' 288'14. Seg -329-iJo'15. As "The Eichmann Trial: America's Response"'

American (New York: American Jewish Committee;Philadelphia: Jewish Publication Sociery 196z), p' 88'

r6. ..Thoughts on Eichmanr.," National Reuieta Io, no. r5 (zz April 196r): pp.

218-239.ry. ,,The Eichmann Case as Seen by Ben-Gurion," Neu., YorþTimes, rB Decem-

bert96o,sec.6,pp.7,6z.OnBen-Gurion'spoliticalmotiveswithregardtotheEichmann trial, see Segev,Tbe Seuenth Million' pp' 128-13t'

r 8. Flausner, /z stice in Jerusalem' pp' 4, z9r, 296'19. Segev, The Seuenth Million' P. 153'zo. see ..court Approves Filming of Trial," Neut Yorþ Times, tx March 196r, p-

4;Hatsner, Justice in Jerusalem, p- 3o7'zr. As cited in Horace sutron, "Eichmann Goes on Trial: The charged Air," sat-

Weekly 28, no. 9 (r MaY ry6r): P. 5.24. Hawsner, Justice in Jerusalem, p. 3o7 '

276 Notes to pdges 9r-93

25. Lawrence Fellows, "TV Makes Its Israeli Debut with aTragedy," New YorkTimes, z JrJy 196r, sec. 2, P. 9.

26. Hausner, lustice in Jerusalem, p. 3o7.zT.Peter Kihss, "Eichmann Trial to Be Seen on TV," Neu York Times, 14

November 196o, p. 13; Richard F. Shepard, "U.S. TV Networks Irked at Coverageof Eichmann Trial," New York Tímes, z5 February 196r, p.45; "Eichmann onTY/ Newsweek 57, no. 9 þ7 February ry6r): p.54; "Court Approves Filming ofTrial," New York Times, r r March 196r, p. 4; Val Adams, "News of TV andRadio-Eichmann," NeraYorkTimes, g April 196r, sec. z,P. r5i E. Z. Dimitman,"How Television Is Watching the Eichmann Trial," TV Guide 9' no. r8 (6-rzMayt96r\: p. 1'1.

28. "Newsfront: The Eichmann Trial," Teleuision Age 9, no. r (7 August 196r):p. z7; Jack Gould, "TV: The Eichmann Tial," Neu York Times, ro April x96r, p.

5 5. Major congressional investigations had been televised during the 195os, notablythe Senate Crime Committee hearings, conducted by Estes Kefauver in 195r, andthe Army-McCarthy hearings in r954. In addition, American television had previously offered regional telecasts of local trials, despite a 19i2 ruling by the AmericanBar Association against the broadcasting of court proceedings. According to PaulThaler, The Vlatchful Eye: American Justice in tbe Age of the Teleuision Trial (West-port, Connecticut: Praeger, r994), television cameras were briefly allowed intoOklahoma courts in 19 5 3, and the first live television broadcast of a trial in Amer-ica was a murder case in Texas, broadcast by KY/TX-TV in'Waco, beginning on 6December rg j j (pp. z5-26).

29. Fellows, "TV Makes Its Israeli Debut with a'kagedy," p. 9.3o. "Newsfront: The Eichmann Trial," pp. 25-27. Emphasis in original.3r. "Eichmann Goes to Trial," NewYorþTimes,9 April r96r, sec. 4, P. 5; Dim-

itman, "How Television Is Watching the Eichmann Trial," p. 43.32. Fellows, "TV Makes Its Israeli Debut with aTragedy," p. 9. Fellows noted

that the knowledge of the live, albeit unseen, audience in Ratisbonne Hall helpedthe television crew to remain "alert in its work. "

3 3. Copies of extant tapes of the Eichmann trial repose in the National JewishArchive of Broadcasting, the Jewish Museum, New York, and in the Steven Spiel-berg Film Archive at the Hebrew University, Jerusalem. According to Alan Rosen-thal, who was an assistant producer and director of Capital Cities's videotaping ofthe trial, some tapes were erased: "Videotaping wâs still in its primitive infancy. InÍact,tape was so expensive and Capital Cities so poor, that tapes of the trial werereused and lost forever" (as cited in Jeffrey Gaster, "TV Professionals'Who Coveredthe Eichmann Trial Form Panel," Connecticut Jeutish Ledger, 4 Lpril ry86, p. 7).

34. Dimitman, "FIow Television Is Watching the Eichmann Trial," p. 43.I 5. "TV Trial Films Delayed," New York Times, rz AprlI x96r, p. 16.

36. Telstar I inaugurated satellite relays of television programs in JuIy 1962,shortly followed by the enactment of the Communications Satellite Act. COMSAI(the Communications Satellite Corporation) was established in 1962. The EarlyBird (Intelsat I), which enabled synchronous transmission, was the first commerciâlcommunications satellite; it was launched in 1965.

j7. Oîr5 December 196r,theJerusalem District Court sentenced Eichmann to

be hanged. His appeal ,oittt ttt"tli Supreme Court' which reiected the plea' was

convened on zz March r9,ø2. Lfter his finar appear, to the president of Israel, was

denied on z9 May, Eichmann was hanged on 3 r May'

S8.DanielDayanandElihuKatz,MediaEuents:TheLìueBroadcastingofHis-

Notes to Pages 93-ror 279

torí (Cambr¡dge: Harvard University Press, r995)' T:..t.9;; ;:ffi;il -;" ; il t#,"p ",'rvffiÁ T "' "1H::: ::::!' : :: 2::

,,;:;, :;;;;;i;;;;,; 53; "Eichmann, Gagarin: 'Instant r\'t"" Yarietv' re Aprir

r96t,p.41.4o. See Salomon, "The Eichmann Trial: America's Response"' p' 96; "TV Guide

close-up: Eichmann Trial," TY Guide 9'Ío',14 (8-r4 April x96t): p' A8; Bert

Burns, ,.Another Nazi irrîpottlgnt,,' Netu'york world-Telegram and saz, rr April

trt_t; ïr":i. Torre, ..Survived 8 Nazi camps, Tells of Revisit There," New yorþ

HeraldTribune, rr APril r96t,P' 15'--- 4.z.BertBurns,

..Eìch*"rrrr-ô"r.stymies comics," Netu Yorþ world-Telegram

øndSun, 13 APril t96r,P' 32'43. Gould, "TV: The Eichmann Trial"' p' 55'

++. JackGould, "TV: Live Court Drama "'

New YorkTimes' 13 April r96r'p'7r';; "O"

coverâge of the Eichmann case in the American Press' see American Jew-

ishCommittee,TheEichmannCaseintbeAmericanPress(NewYork:InstituteofHuman Relations, .96z); George Salomon' "The Eichmann Trial: America's

Response," pp. Si-ro3; 'Gto'gt"salomon' "The End of Eichmann: America's

Response," American líwXh Yiar Booþ t963' eðs' Morris Fine and Milton Him-

melfarb(Newyork:AmericanJewishCommittee;Philadelphia:JewishPublicationSociety, 1963)z PP. 247-259'

46.Quotedfromthet"lt"l'io"documentaryVerdictforTomorrow(CapítalCities Broadcasting ComPany, t96r); see note 59 for this chapter'

47. "Timely Topics: ntfiti"g the Past"' Congress Bi-Weekly z8' no' 9 (r May

ry61: P.3. EmPhasis in the original'48. ;'Eichmann, Gagarin: 'Instant TY,"'-p' 4J'49. rirary A.rn Witson, The Expønding Vista: Arnerican Teleuision in the

Keníedy years (New york: oxford university Press, rggo), p. 4.

5o.ErikBarnouqfubeoftlenty:TheEuolutionofAmericanTeleuision'ztdrev. ed. (New York: Oxford Universi ' 284' z8z:' Barbie

Zeiizer, Couering the Body: The Kenne edia' and the Sbap-

ing of Collectiue MemoryiChicago' Unir r99z)'pp' z8' z9'

5r.NJAB:itemno.f¡og'Ottthtotherreportsinthisseries'seeFox'itemsnos'"*::';i::lere orher ways thâr journarists covering the Eichmann trial used their

Presenceinsituasameansofdemonstratingtheirauthority.TirnemagazinenotesthatmanyjournalistsenroutetoJerusalem..stoppedofffirstatthegaschambersofDachau, Buchenwald and Auschwitz to refresh i."d..r' memories" ("In the Dock,"

Time 77,no. r6 [r4 April 196r]: p' 34)'53. NJAB: item no' T4o3'

2ô0 Notes to þages ror-rro

54. There are no commercials included on the NJAB copy of this broadcast.According to Hannah Arendt, Eichtnann in Jerusalem: A Report on the Banality ofEuil, rev. ed. (New York: Viking Penguin, ry64),the program was sponsored by theGlickman Corporation, a real estate business (p. 5).

5 5. For a bibliography of works dealing with Eichmann's experiences in Hun-gary, see Braham, The Eichmann Case, items nos. 138-16r.

56. Gould, "TV: Live Court Drama," p. zt;Jay Michael, "For the Record," TVGuide 9,no. 16 (zz-28 April 196r): p. Ar; Howard Thompson, "Screen: Stalking aNazi," Neu Yorþ Times, 4 May 196r, p. 4o (Operation Eicbmann, with screenplayby Lewis Copple¡ wâs an Allied A¡tists presentation, starring'Werner Klemperer as

Eichmann); Art, "The Eichmann Trial," Variety, z6 Aprll 196r,pp. 176, r9o.57. Mimi White, "Television: A Narrative-a History" Cubural Studies 7, no.

3 (October r989): pp. z8z-284.58. Hausner,,/zstice in Jerusalem, p. 3o8.59. NJAB: item no. T382.6o.lJausrter, Justice in Jerusalem, p. 3oo.6r. Historian Stuart Svonkin notes that the American Jewish Committee and the

Jewish AntiDefamation League embarked on a media campaign' in print and onradio, to promote a distinctive reading of the trial, which "emphasized that therewas no doubt that Jews were the chief victims of the Nazis' systematic campaign ofextermination." "The Return to Parochialism: American Jewish Communal Life inthe r96os," conference paper presented at the Second Annual Scholars' Conferenceon American Jewish History rz-r4 June ry96, p. 8.

62. "The Judgment of Eichmann: WABC-TV" [advertisementf, Netu YorkTimes, tz April 196r, p. 82. Other local newspapers carried the same advertise-ment, e.g., Neu York World-Telegram and Sun, rz April 196r, p. 5r; Neu YorÞHerald Tribune, rz April 196r, p. z9;Neu Yorþ Post, rz April 196r, p. 9o.

63. Watching Eichmann on the videotape record of the trial has continued tohold the interest of viewers. For example, a visitor to an exhibition of the trialfootage and related broadcasts, which was presented at the Jewish Museum in NewYork in 1986, commented that "it was fascinating to see him-it was like watchingthose films of Hitler kissing his dog. . . . He [i.e., Eichmann] looked so normal" (as

cited in Peter Kerr, "Eichmann Trial Recalled in Exhibit," Neu York Times, 3rMarch 1986, p. B5).

64. Lawrence Fellows, "Eichmann Is Neat in New Gray Suit," Neu York Times,rz April 196r,p. 16.

65.EIiezer Veyzel [Elie Wiesel], "Der ershter tog" (The first day), Jewish DailyForøard, rz April t96x, p. r. My translation from the Yiddish; emphasis in original.

66. Matthews, "The Meaning of the Eichmann Trial," Saturday Euening Post234, rro. 4 fto June 196r): p. 75; "Servatius 'Wins Respect in Trial," Neu YorþTimes, 3 JuIy 196r, p. 3; Lawrence Fellows, "Eichmann the'Witness," Neut YorþTimes, z5 June 196r, sec. 4,p.4i Leyb Rakhman, "Zitsndik in gerikht baymAykhman-protses" (Sitting in judgment at the Eichmann trial), Jeutisb Daily For-tuard, r4 Aprll ryû, p. z, my translation from the Yiddish; C. L. Sulzburger, "For-eign Affairs: Kafka Nightmare Come to Court," Netu Yorþ Times, z August 196r,

Notes to Pages rro-rr6 26t

p. 28. According to the New Yorþ Times' the men

"ll "oorr-Eo.opean Jews" who had not "suffered

would not take revenge" against the defe Ldant (Fe

Gray Suit," P- 16).67. Segev,The Seuenth Million' P' 34.5'

:ã . ;;äi;;"i;;;;;;; ;.;.' *;å; to alow Eichmann"to':i"':å :::. T':::.."ä.j.;.;;^J;;,,1ã..r. when he was called as a wirness. See, e.g., "Heavv Secu-

-- ^--;l:ilffi ;äffi ;t il'ììt"".ri ""¿ rr o m o the r s

"' ! " ? I : :!,T'i :'+.::,I'"' :li;:;,;:';;:;;;;;;;"'t, "Eichmann to stav in Glass cage ir He restiries at

Israeli Trial," Netu YorkTimes, 5 June 196r' p' 5'

69. Mattha Gellhorn, "Uti'L""t'-and the Private Conscience"' Atlantic

Monthly 29,no- z (February 196z):p' 52'7o.Hoí^r.Sutton, "Eichmann Goes on Trial"' p' 49'

7r. Leyb Rakhman,;ll erttt'*"n firt zikh oyf in gerikht" (How Eichmann

b.í*., doring the tríal), Jetaisb Daily Forutard' 19 April 196r' p' z'

Tz.PatríckO'po,,ou"","ReflectionsontheEichmannTrial"'NeuRepublicr44'no. zo (r5 May :rg6.r)tp';; atthews' "TheMeaningof theEichmannTrial"'p' 75'

77. Hausner" Justice in Jerusalem' pp' 347-348'T4.HomerBigart, "Eichmann to See Preview of Death-Camp Films"' Neut York

Times, z8 MaY 196r, P' 8'

75. Homer Bigart, *Eichmannn Is Unmoved in Court as Judges Pale at Death

Films,' Neø Yorþ Times, 9 June r96t' p' t6'- ,á."Thrlnferno," Neutsttteek 57,îo' z5 (r9 June ryírlzp' 43'

77. "¡r*rfor Trucks," Time 77,no' z4 (9 June r96t): p' zo'

78. *U.S. tsychologist S"yt fit ô"*tared Eichma rLn"' Neut Yorþ Times' 3o May

"uì;.n;i;^* Bigart,"Defense Attornev challenges Legalitv of the Trial as Eich-

*"n.', Case Begins," Nett'' YorþTimes' rz April ry6r'p' x6'

8o. The producers of the recent documentary The Trial of Adolf Eichmann (PBS'

aired 3o Lpttl ry9)'"pf"ttJtf" sequentia.l translation by courtroom translators in

the original footage *tif' ot"tf"nping English-language translations performed by

professional actors. Ï'nt '""'ft, "ìä"g *ith the editing out of footage in which peo-

ple *wait" for the translation Process' is a much tighter' more dramatic exchange

th"tt th"t which actually took place in the courtroom'

8r. Matthews, "The Meaning of the Eichmann Trial"' p' 75; Hariman' Popular

Trials, P. 25.8z.BenjaminHarshav,TheMeaningofYiddisb(Berkeley:UniversiryofCalifor-

nia Press, r99o\,P. 1'83. Alvin Rosenfeld, *Israel Prints Glossary of Nazi Terms"' Neut Yorþ Herald

Tribune, rr APril x96r,P' z'84. Fellows, "Eichmann the'Witness"' sec' 4' P' 4'ti. C.nnorrr, "Eichmann and the Private Conscience"' p' 58'

86. M[ordkh.] f'"-t'-i", ;Vtg" di yidishe buletins fun dem Aykhman-protses"

(About the yiddish bulletins of the Eichma nntríall, leuish Daity Fortaard, 16 April.196r, sec- r, PP. r, ro' My translation from the Yiddish'

262 Notes to pages rr6-rzr

87. Anita Norich, "Yiddish Literary Studies," Modern Judaism ro, no. 3 (Octo-ber r99o), p.298.

88. Gellhorn, "Eichmann and the Private Conscience," p. 53.89. Herbert Freeden, "The Case Against the Prosecutiort," Congress Bi-Weekly

28, no. rz (26 Jtne ry6r): p. 9.9o. Homer Bigart, "servatius 'Wins Respect in Trial," New York Times, 3 Júy

196r,p.7.9r. "Eichmann Paints a Robot Portrait," Netu Yorþ Times, z6 June r96r, p. 8.

92. Wilcke, "Eichmann Image Repels Germans," sec. r) P. 27.

93. Orre possible indication of the declining interest in watching the Eichmanntrial is the suspension of daily reports showing footage of the proceedings byV/NIA New York (Channel r3) in mid-May.

94. In addition to frequent references in the press to Eichmann as the men in the"glass box" (or "booth" or "cage"), the image was selected as the title of RobertShaw's play The Man in the Glass Boorå (New York: Grove Press, 1968), which is

based somewhat on Eichmann's capture and trial.95. For a bibliography of reactions to the Eichmann case, see Braham, The Eich-

mann Case, items nos. zrt-9r6. There is also an appendix offering a selectiveoverview of reactions to the trial (which are generally supportive) published in theinternational press in Harsner" Justice in Jerusalem, PP. 45 5-472.

96. American Jewish Committee, The Eichmann Case in the American Press,

P.I8.97. Arendt's views were first published as a series of articles entitled "Eichmann

in Jerusalem" in the New Yorþer during February and March ry63- Ãn expandedversion of these articles was first published in book form as Eichmann in Jerusalem:A Reþort on the Banality of Euil (New York: Viking, x963); a revised and enlargedpaperback edition was published the following year. For a bibliography of critiques,reviews, and comments on Arendt's work, see Braham, The Eicbmann Case, itemsnos.9z6-n72.

98. Irving Howe, "The Range of the New York Intellectual," in Creators andDisturbers: Reminiscences by Jeutish Intellectuals of New Yorå, eds. BernardRosenberg and Ernest Goldstein (New York: Columbia University Press, 198z), pp.285-286.

99. Arendt, Eichmann in Jerusalem, rev. ed., PP. 4-8, passim.roo. Jacob Robinson, And the Crooked Shall Be Made Straight: The Eicbmann

Trial, the Jewish Catastrophe, and Hannalt Arendt's Narratiue (New York: Macmil-Ian, 1965), pp. ro8, ro9, rj5, rri.

ror. Harold Rosenberg, "The Trial and Eichmann," Commentary 32' rro. 5

(November 196r): pp. 369-89, passim.roz. Susan Sontag, "Reflections on The Deputy," Against Interpretltion and

Otlter Essays (New York: Deha, 1966 Íg6+l)' pP- r25-rz7 -

ro3. As cited in Gaster, "TV Professionals Who Covered the Eichmann TrialForm Panel," p. 7.

ro4. John Ciardi, "Manner of Speaking: Six Million and One," Saturday Reuieut

45, no. z7 Q Jtlry 196z):p. 14.

-¿.

Notes to þages r22-r29 263

ro5. Michel Foucault, "The Dangerous Individual," in Michel Foucault, Poli-tics, Pbilosophy, culture: Interuiews and other'writings, 1977-1984, ed. Lawrence

D. Kritzman (New York and London: Routledge, 1988), pp' tz6-tz8'ro6. NJAB: irem no. T383. An interesting private screening of Engineer of

Death atPurdue University it 196r is described in Gerard Engel, "Campus Reac-

tions to Eichmann," Congress Bi-Weekly 28, no' xr (29 l;4ay ry6r): pp' 7-8, 13'

For a discussion of this screening, see Jeffrey Shandler, "The Holocaust on Televi-

sion: A New American Jewish 'Rite of Spring,"' in Freedom and Responsibility:Exploring the Challenges of Jetaish Continuity, eds. Rela Mintz Geffen and Marsha

Bryan Edelman (Hoboken: KTAV, 1998), pp. 263-z7r'ro7. NJAB: item no. T38o.rog. Joel Engel, Rod serling: The Dreams and Nightmare of Life in tbe Tutilight

Zone \Chicago: Contemporary Books, ry89), p- r89'rog. on proposals for Eichmann's punishment, see, e.g., Homer Bigart, "Eich-

mann to Stay in Glass cage if He Testifies at Israeli Trial," New York Times, 5 June196r,p.5.

rro. Sidra DeKoven Ezrahi, By 'Words Alone: The Holocaøst in Literature(Chicago: University of Chicago Press, 198o), p. 2o5; see Salomon, "The End ofEichmann," pp. 257-258.

rrr. The results of the Gallup poll are analyzed in Irving Crespi, "Public Reac-

tion to the Eichmann Trtal," Public opinion Quarterly 28, no. r (spring ry61: pp.

gr-roJ. see also the American Jewish committee, The Eichmann case in the

American Press. The University of California study was published as Charles Y'

Glock, Gertrude J. selznick, and Joe L. Spaeth, The Apathetic Maiority: AStudy Based on Public Responses to tbe Eicbmann Trial (New York: Harper and

Row, 1966).r rz. Glock et al., Tbe Apathetic Maiority, pp. r92, zo9'rr3. Ibid. , pp.48-5o.rx4.Ezrahi, By'Words Alone, pp. zo5-2o6.rr5. For titles of specific broadcasts, see Salomon, "The End of Eichmann"'pp'

256-257.rr6. See,

Sterling andcasting, znds¡oz (New York: Random House, 1988).

rr7. On Holocaust travel, see, e-g., Jack Kugelmass, "The Rites of the Tribe:The Meaning of Poland for American Jewish Tourists," Ylvo Annual zr (1992):

pp. 395-45j, and Oren Baruch Stier, "Lunch at Majdanek: The March of the Liv-ing as a Contemporary Pilgrimage of Memor¡" Jewish Folþlore and EthnologyReuiew 14, nos. x-z (r9951: Pp- 57-66; on Yad Vashem, see James E'Yotng,TheTexture of Memory: Holocaust Memorials and Meaning (New Haven: Yale Univer-

sity Press, :rgg1', pp. 243-z6r on American Yom Ha-Sho',ah commemorations' see

Lucia Ruedenberg, " 'Remember 6,0o0,000': civic comemmoration of the Holo-caust Among Jewish Survivors in New York City" (Ph.D. diss., New York Univer-

sity, 19941.

284 Notes to pages rz9-r3j

rr8. Ethan Katsh, The Electronic Media and the Transfortnation of tbe Laut(New York: Oxford University Press, 1989), p. rz.

r19. Lance Bennett and Martha S. Feldman, Reconstructing Reality in theCourtroom: Justice and Judgment in American Culture (New Brunswick, New Jer-sey: Rutgers University Press, r98r), pp. 3, 4.

rzo. See, e.9., Segev, The Seuenth Million, pp. 3Sj-j54; Arendr, Eicltmann inJerusalem, rev. ed., p. 2zS.

rzr. Arendt, Eichmann in Jerusalem, rev. ed., p. zz4. This scene is prominent inthe footage shown annually on Israeli television on Yom ha-Sho'ah. See Segev, TåeSeuenth Million, p.8.

tzz. "The Eichmann TriaI," Teleuision Age, p. 25.rz3. Lawrence Fellows, "Eichmann Goes to Trial," Neu Yorþ Times, g April

196r, sec. 4, p. 5.rz4. James'Wolcott, "Prime-time Justice," Tbe Neut Yorker 68, no. 4r bo

November ry92): p. r59.

Chapter 5. A Guest ln the Wasteland

r. Mary Ann 'Watson, The Expanding Vista: American Teleuision in the KennedyYears (New York: Oxford University Press, r99o); James L. Baughman, Tbe Repub-lic of Mass Cubure: Journalism, Filmmaking, and Broadcasting in America Sincer94r lBaltimore: Johns Hopkins University Press, r99z). Baughman notes that ,.by1965,92.6 percent of all [American] households had at least one TV set; 22 percenthad more than one" (p. S-).

z. Villiam Boddg Fifties Teleuision: The Industry and lts Critics (lJrbana: Uni-versity of Illinois Press, r99o), p. zz6. For the text of Minow's "vast wasteland,'speech (delivered at a meeting of the National Association of Broadcasters on 9May ry6r), see his Equal Time (New York: Athenerm, 1964), pp. 45-69.

3. Christopher H. Sterling and John M. Kittross, Stay Tuned: A Concìse Historyof American Broadcasting, znd ed. (Belmont, California: .W'adsworth,

ry9o), p. 396.4. Erik Barnouw, Thbe of Plenty: The Euolution of American Teleuision, znd rev.

ed. (New York: Oxford University Press, r99o), p. 1,r4.5. Tbe Last Chapter (NCJF), Trial at Nuremberg (LCz item no. FDA, 37q), Wbo

Killed Anne Franþ? (NJAB: item no. T3¡9), and Cltange My Name to Life (NJAB:item no. Trzg).

6.'Wiesel's earliest appearances on American television, shortly after he settled inthe United States in the mid-r96os, include Elie'Wiesel, a 1967 episode of Direc-tions (Fox: item no. o33oò and The Jews of Silence, a 1969 episode of. EternalLight (Fox: item no %39o).ln ry7 4 Directions also presented Simon 'Wiesenthal: AConscience for Our Tlze (NJAB: irem no. T6og).

7. J. Fred MacDonald, Blacþs and White TV Afro-Americans in Teleuision Sincet948 (Chicago: Nelson-Hall, 1983), p. ro2.

8. See George Lipsitz, "The Meaning of Memory: Famil¡ Class, and Ethnicþ inEarly Nenvork Têlevision Programs," Camera Obscura 16 (January 1988), esp. p. rrr.

Notes to þ48es r3t-r4j 265

9. MacDonal d, Blacks and White T\ p' ro3 'ro. Michael Elkin, "Jews Behind the Camera Change Portrayal of Jews on TV

Screen,,, Long lsland. Jeøish world,3o August-6 September, r985, P' r6; Alex

Grobman, "ffoUy*ooa on the Holoc awst," Sboah: A Journal of Resources on the

Holocaust 4'rro. r-z (fall-winter 1983-1984\:p' ro'rr. MTR: item no. T8o:o75r'rz. See Produced by . ' ' Herbett Brodk'in: A Signature of Conuiction and

Integriry (New York: Museum of Broadcasting, 1985)' p' 3 5'11. S"oron of Vengeønce (Fox: item no' o4o95); The Indelible Silence aired on

z9 Slptember 196z; citatiortfrom caption accompanying CBS press photo for the

tá1.."rt, Photofest' New York; QB VII (MTR: item no' T87:o4ro--o44)'14.FormerNazisand,'.o-N",i,figureintheplotsofepisodesofseveralpolice

and detective shows produced during ihis period, according to the listings in David

Martindale, Teleuision Detectiue ilro*i of the r97os: Credits, Storylines and

Episode Guides for ro9 Series (Jefferson, North Carolina: McFarland' r99r): "The

Big Explosion ," a 1967 episode of NBC's i hate mongers"; p'

r34); "The Butcher," a x968 episode of ngerous Nazi-style

p1^i^'mtlit^ry organization "; P. :-63)i

ipisode of CBS,s Cannon ("a war criminal accused of World War II concentration

camp atrocities"; P. 75); "Now You See Him," a :'976 episode of NBC's Columbo

("a Nazi war criminal . . . kills a blackmailer";p'n7)'r5. NJAB: item no. Tr4rr'16. NJAB: item no. Ttq4'17. NJAB: item no. Tr7z.r8. Collin came to ,t"tio.,"l attention in the spring of x977' when he and the

NSpA planned to stage a public demonstration in Skokie, Illinois (see Chapter 7)'N.*, åf collin,s Jewish p"r.rrr"g" was ,.first divulged by chicago columnist Mike

Royko" (Donald Alexarider Do*"', Nazis in Sþoþie: Freedom' Community' and

tbi F¡rst Amendment [Notre Dame, Indiana: university of Notre Dame Press,

r9851, p. z5)- The Skolle incident may have inspired this episode of Lou Grant'

which was first aired on 18 October 1977'r9. Jean-Paul Sartre, Anti-sernite anl Jeut, trans' George J' Becker (New York:

Schocken, 1948), P. 69; see Raul Hilberg, The Destruction of the European Jeus

(Chicago: Quadrangle íooks, 196r); Hannah Arendt' Eichmann in Jerusalem: A

nrporion tite Banatity of Euit (New York: Viking' x96);BenHecht' Perfidy (Neur

York:Messner,r96r);Rob.ttShaw,TheManintbeGlassBoothfiovel](NewYork: Harcourt, Brace and 'World, ry62); Robert Shaw' Tbe Man in the Glass

Booth lplayl (New York: Grove Press, 1968)'zo. See Clayton R. Koppes and Gregory D' Black' Hollyutood Goes to War:

How politics, profits ord iìopogonda Shaped World War Il Mouies (Berkeley: Uni-

versity of California Press, r99o)'zr. A¡thur D. Morse, wií" s¡" Million Died: A chronicle of American Apathy

(NewYork:]Haft,f-967|.Morse'saPpeâranceontelevisioninconjunctionwiththesobj.ctofhisbookincludesTheSinslHaueSinned'PartI'anepisodeofLampUnío My Feet airedon 14 July 1968 (Fox: item no' o37%)'