Just awful alt-hist cross-cultural objects

For example,

Komm und sieh (Ufa, 1985). Despite alter kampfer secrecy, by 1985 volksdeutsche had begun to talk about how the former white russia became occupied.

здраво здраво (nSk, 1982-1992). A farce comedy set in war time Serbia. Largely concerned with joke accents, tit jokes and forgeries of Ikons. Except for the Ustashi and German action groups.

Сердце тьмы (1972). Follows a СМЕРШ unit headed West, chasing a partisan deviationalist from the Volga to the Hitler Bunker.
 
The historical counterparts are Come and See / Idi I smotri. A very disturbing film about an anti partisan action.

allo allo ran on UK television for 10 years. Kind of a Dads Army of the occupation of France. For that matter: Die Armee der Väter. This television farce follows a police batallion from Poland east. Regular offsiders include the officious sicherheitsdienst character who tries to drag them from anti partisan duties to "anti partisan duties." They don't like the cold steel up them, do they

Finally, heart of darkness was a novel about imperialism turned into a film about a journey into war. Honestly, America's war in Vietnam lacks the horror of the Eastern front.
 
Сердце тьмы (1972). Follows a СМЕРШ unit headed West, chasing a partisan deviationalist from the Volga to the Hitler Bunker.

If this is meant to be a parallel to Heart Of Darkness, I don't think Marlow and company were chasing Kurtz, were they? Kurtz was more or less camped out in the jungle, and Marlow had to go down and bring him back to "civilization".

Anyway, assuming it's meant to be produced in a time-line where the Soviets still win, I think it would be pretty controversial to portray a Communist partisan, deviationalist or otherwise, in the way that Conrad portrays Kurtz. The message would effectively be "The Communists were no better than the Nazis". That would likely get the writer sent to the gulag, and even in the USA, people wouldn't take well to hearing World War II analyzed that way.

Slaugherhouse-Five kinda sorta skirted around similar themes, but stopped short of outright demonizing the Allied personnel.
 
If this is meant to be a parallel to Heart Of Darkness, I don't think Marlow and company were chasing Kurtz, were they? Kurtz was more or less camped out in the jungle, and Marlow had to go down and bring him back to "civilization".

Anyway, assuming it's meant to be produced in a time-line where the Soviets still win, I think it would be pretty controversial to portray a Communist partisan, deviationalist or otherwise, in the way that Conrad portrays Kurtz. The message would effectively be "The Communists were no better than the Nazis". That would likely get the writer sent to the gulag, and even in the USA, people wouldn't take well to hearing World War II analyzed that way.

Slaugherhouse-Five kinda sorta skirted around similar themes, but stopped short of outright demonizing the Allied personnel.

In the Eastern Front I think it has to be chasing. Let's call the Kurtz, "Bandera." I had already envisaged a non-USSR aligned partisan, but let's make it clear. The blame for "the horror," is solely upon Germans and the political "other." Marlow acts as a witness, and SMERSH's opinion throughout must be, "We did what was awfully right, because they embodied the horror." Obviously the confrontation needs to be a bit less sympathetic to Kurtz. Hell, let's make the knitting nancies and yacht sitting observers be the anti-party bloc for good measure.

A interesting but very complex idea here.

Thank you, I think. I've seen these done with Western influenced pop culture before, but there isn't the scope for awfulness in the West. Applebaum might become a historian of enclosures, but it wouldn't liminally animate people like a nice fire side stalin biography.

yours,
Sam R.
 
Eric Blair (1952) _First Circle_. An account of the Indian RAF mutiny told by one who was there, subtly compounded against the Indian Mutinies and the Bengal special handling area.
 
Levi, Primo (1982). _Not now, not ever._ influenced by the portrayal of Judenrat complicity and Jewish passivity in Raul Hilberg's _Destruction of the European Jews_ Levi doubled down in this holocaust theology influenced tale of the impossibility of god in the abhorrence einsatzgruppen and futility of partisans. Few people emerge from this work viewing resistance as anything different to, or less pathetic than, passivity. Most are shocked by how comedic _If this is a man_ appears compared to the Eastern experience of _Not now_
 
Steinbeck, John(1939) Loose The Fateful Lightening

Armed revolt amongst Oklahoma migrant workers demanding government relief in a Hoover camp, circa 1935.
 
Павел Иванович Келли (1992) "Sonderbehandlung", _Скрытые вещи_ (Hidden things)

Grandfather walked this land in chains/ A land he called his own
He was given another name/ and taken into town
He got sonderbehandlung, sehr sonderbehandlung

Father worked a twelve hour day/ Mustering on the colony
The same work but not the same pay/ As his reich comraden
He got sonderbehandlung, sehr sonderbehandlung

[OOC: IOTL song was written well before the change in the public reception of the historiography of Australian invasion.]
 
Far-fetched, but my entry:

Eger: La Ira de Dios
Spanish historical production about a group of German Landsknechte and their journey into madness in the Amazon. Remembered for the contentious relationship between director Varnario Duque and crazed-genius principal actor Nicolás Quiñoz.
 
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