Eichmann Trial -- Sessions 70 and 71 -- Witnesses R. Kagan, E. Goldstein, V. Alexander; film screenings

Identifier
irn1001715
Language of Description
English
Alt. Identifiers
  • 1999.A.0087
  • RG-60.2100.087
Level of Description
Item
Languages
  • English
  • German
  • Hebrew
Source
EHRI Partner

Creator(s)

Biographical History

Emil Knebel was a cinematographer known for Andante (2010), Adam (1973), and Wild Is My Love (1963). He was one of the cameramen who recorded daily coverage of the Eichmann trial in Jerusalem (produced by Capital Cities Broadcasting Corp and later held academic positions in Israel and New York teaching filmmaking at universities. Refer to CV in file.

Scope and Content

Footage begins with testimony from witness Raya Kagan, who describes a meeting with Untersturmbannführer Maximilian Grabner, in which she was told that she was forbidden to talk about the office work she performed (registration of supposed causes of deaths among prisoners), on pain of death. She also provides an account of her contact with the women of the Aussenkommando and the female Slovakian intelligentsia, as well as a description of the kapos and block elders. The remainder of Kagan's testimony is missing from the tape and the footage begins again with a witness account from Esther Goldstein. Goldstein describes her arrival at Auschwitz and the process of separation of the men, women and children (a picture of women and children is shown at 00:06:58). She then describes the roll call/selections headed by Dr. Mengele, noting that in one instance the orchestra played music and that Mengele had a woman assistant. Goldstein also gives an account of the living conditions and food. The remainder of Goldstein's testimony is missing and the footage continues with the presentation of film evidence by the prosecution. Portions of this footage are visible on screen. Shots of Eichmann watching the film. Topics of the footage shown include the Einsatzgruppen and the Auschwitz camp. After a brief break in the footage, evidentiary film continues, including shots of the hospital and surgical blocks in Auschwitz. Another break in the footage, then film evidence continues with scenes of the liberation of Auschwitz by Soviet troops, then still photographs of prisoners being punished and examined. There are various shots of prisoner badges and tattoos and atrocities. The film stops and Attorney General Hausner addresses the court and describes the next segment of film to be presented, from liberated camps in the American sector. Eichmann takes notes. (00:31:14) Footage of General Eisenhower viewing the atrocities in a liberated camp (probably Ohrdruf). American GIs aid survivors. The next segment of footage shows bodies and captured camp staff being held at gunpoint. Americans view mass graves. Sign indicates some of the footage is from Landsberg (00:34:23). Another break, and then film onscreen continues with shots of captured German/Nazi POWs and camp staff, supervised by American GIs, placing bodies in a mass grave. The presentation of film ends and the court adjourns until the afternoon session. All rise as the judges exit. Footage resumes in the middle of Session 71 with the testimony of witness Vera Alexander. Hausner shows the witness a drawing made by a survivor after liberation and asks her to authenticate the events depicted in the drawing. These pictures are shown on screen and include topics such as arrival, the shaving of women's heads, the bunks, the infirmary, and punishment, distribution of food, selections, sorting, suicide, and hangings.

Note(s)

  • See official transcripts, published in "The Trial of Adolf Eichmann", Vol. I-V, State of Israel, Ministry of Justice, Jerusalem, 1994. Also available online at the Nizkor Project. * Until 10 minutes into tape there are bad creases in the tape, reflected in image quality.

Subjects

Places

Genre

This description is derived directly from structured data provided to EHRI by a partner institution. This collection holding institution considers this description as an accurate reflection of the archival holdings to which it refers at the moment of data transfer.