References
- Birdwell, M.1999. Celluloid Soldiers: Warner Bros. Campaign Against Nazism. New York: NYU Press.
- Burgoyne, R. 2008. “The Biographical Film: Schindler’s List,” in The Historical Film Oxford:Blackwell,: pp. 100-124.
- Hansen, M. 1997. “Schindler’s List is not Shoah: the Second Commandment, Popular Moderism and Public Memory” in Spielberg’s Holocaust, Ed. Yosefa Loshitzky, Bloomington: Indiana UP, pp. 77-103.
- Kaplan, A and Ban Wang. 2004 “Introduction: From Traumatic Paralysis to Force Field of Modernity” in Trauma and Cinema: Cross-Cultural Explorations. Hong Kong: Hong Kong University Press.
- Mazzenga, M. 2009. American Religious Responses to Kristallnacht. London: Palgrave Macmillan.
- Nelson, B. 2009. “ ‘We’ll Always Have Paris,’ and Also Berlin” in Cinematographic Art andDocumentation. Bucharest, Romania: Victor Publishing.
- Suleiman, S. R. 1997. Budapest Diary: In Search of the Motherbook. Lincoln, Nebraska: University of Nebraska Press.
- Suleiman, S. R. 2006. Crisis of Memory and the Second World War. Cambridge, Mass.: Harvard UP. de Waard, A. 2010. “Intertextuality, Broken Mirrors, and The Good German,” in The Philosophy of SevenSoderbergh. Bloomington: Indiana UP, pp.107-119.
- Wager, J, B. 2005. Dames in the Driver’s Seat. Austen: University of Texas.
- Soderbergh, S. 2006. The Good German. Warner Bros. Film.
- Wyden, P. 1992. Stella. New York: Simon and Schuster.