WW2

The Bombing War and German Memory of WWII

At the beginning of September 2017, construction workers in the major west German city of Frankfurt am Main uncovered a British “blockbuster” bomb dropped during World War Two. Nearly 60,000 residents were evacuated so that experts could defuse this huge bomb designed to destroy an entire street of houses. Unexploded bombs from World War Two are still being discovered in other German cities. During the war, the British and the Americans dropped some 2.7 million tons of bombs on Germany. All the major German cities were reduced to ruins and between 305,000 and 410,000 Germans, most of them women, children, and old people were killed, sometimes in quite hideous ways, by Allied bombs. By the 1990s, however, many Germans would insist that this traumatic experience had been overshadowed by Germany’s confrontation with the Holocaust. The experience and suffering of German civilians during the Allied air war appeared to be “off-limits,” the subject only of private conversations around the family dinner table but never a major focus of public memory. Germans who had lived through the bombing were, it appeared, victims twice over—victimized by the bombing itself and then by the silence to which they were allegedly condemned after 1945.
Yet, far from being marginalized in postwar historical consciousness, the bombing war was a central strand of German popular memory and identity from 1945 to the present. In the late 1940s and early 1950s, local narratives of the bombing war established themselves as important “vectors of memory.” Not produced by professional historians and usually lacking any scholarly pretensions, these local publications are examples of the kind of “public history” which has been so influential in constructing and transmitting popular understandings of the past to successive generations of Germans since 1945. Along with the flight and mass expulsions of ethnic Germans from the East and the mass rapes of German women by Soviet soldiers, the bombing war allowed Germans to see themselves as victims at a time when the Allied liberation of the concentration camps and the Nuremberg trials presented Germans to the world as perpetrators or at least as accomplices. The bombing war continued to serve this function even as Germans became more and more willing directly to confront the genocide of European Jews –which by the 1960s was beginning to be referred to as the Holocaust.

The power of the local master narrative established in the 1950s depended upon its ability to compress the local memory of the war and the Nazi past into the experience of the bombing. This version of local history depicted the inhabitants of individual towns and cities as innocent, unsuspecting victims of both Allied bombs and of the Nazi regime which had deceived and misled them. But by the late 1990s, this narrative had become intensely problematic. New scholarship, the activities of local History Workshops, public controversies about the traveling exhibition “Crimes of the Wehrmacht” (1995-1999) and about Daniel Jonah Goldhagen’s book, Hitler’s Willing Executioners.Ordinary Germans and the Holocaust(1996) all focused public attention on the participation of ordinary Germans in the crimes of the Nazi regime. At the end of the twentieth century, it seemed no longer possible to decontaminate local history.

US Bombing Raid Over a German City. (National Archives and Records Administration via Wikimedia)

Photographic images played essential roles in local publications about the bombing war. Photographs were used not simply to illustrate the written text but also to show aspects of the bombing war that the authors believed could not be communicated adequately in words. Yet the power of images was limited by the conditions under which they had been produced during and immediately after the war. Photographers had simply not been able to capture pictures of some of the most horrific experiences of the bombing. The images that were used might also generate contradictions that could not be resolved visually. Photographs of dead German bodies might conjure up the other images of dead and dying Jews and other concentration camp victims which the occupying Allies had used as evidence of German crimes in 1945. The early local publications established a fairly limited visual canon which relied primarily upon pictures of ruins and (less frequently) dead German bodies to construct a visual argument that presented Germans as victims. But as the repertoire of images expanded in the 1960s to include pictures of Allied air crews, of Jews or other victims of Germans, as well as photographs of the European cities destroyed by German bombing, these other images made it more difficult to maintain an exclusive focus on German suffering.

Hamburg after bombing by UK Royal Air Force (Imperial War Museum via Wikipedia)

Pictures of ruins have remained the most common motif in publications about the bombing right up to the present but the genre of ruin pictures has changed significantly since 1945. Ruin pictures now routinely include photographs of cities bombed by the Germans–Guernica, Warsaw, Rotterdam, London, Stalingrad. Pictures of forced foreign laborers, Russian POWs and even Jews in the ruins draw attention to Nazi racism and genocide. The important question is, however, not whether but how these pictures of Germany’s victims have entered the visual world of the bombing war. Are they presented in ways that require readers to look at the suffering caused by Germany while still allowing them to empathize with the German victims of the bombing? Or do they seriously disrupt the ability of photographs of Germans in the ruins to elicit the sympathy of contemporary readers/viewers? Or do pictures of Germany’s victims, when they are set side-by-side with images of Germans as victims, show readers that World War Two turned ordinary people on all sides into victims and created a European-wide community of suffering?

Berlin Women clearing debris. (German Federal Archives via Wikipedia)

The most recent visual and textual representations exhibit no clear agreement on the “right” narratives and the “right” images that should be used to depict the bombing of German cities. A range of different voices and pictures now compete for the attention of German audiences. This “pluralization” of bombing narratives and images both reflects and enables the competing, sometimes contradictory ways that Germans imagine the air war and its relationship to the Holocaust.

Related Reading and Viewing

Kurt Vonnegut, Slaughter-house Five (1969).
The classic novel by one of America’s most important writers. Vonnegut was a POW in Dresden when the city was devastated by Allied firebombing on February 13-14, 1945

Richard Overy, The Bombers and the Bombed. Allied Air War Over Europe, 1940-1945 ( 2015)
An unusual approach by the eminent British historian of World War Two that provides a comprehensive discussion of the Allied bombing of not just Germany but of many other European countries

W.G. Sebald, On the Natural History of Destruction(2003).
In this provocative short collection of essays, translated from the German original, the author and literary critic, W.G. Sebald faulted German writers for not having made the air war a more central and significant focus of post-war literature.

Jörg Friedrich, The Fire:The Bombing of Germany, 1940-1945 (2006).
The English translation of Friedrich’s massive, tendentious and hotly contested critique of the Allied air war which quickly became a bestseller in Germany.

Dresden (Dir: Roland Suso Richter, 2006). The first fiction film about the fire-bombing of Dresden. It drew an audience of 13 million viewers on the first evening it was broadcast on German television in March 2006.

from Dresden (2006)

Looking Into the Katyn Massacre

By Volha Dorman

U.S. government officials have often been hesitant to take the Soviet Union to task on their humanitarian crimes. This reluctance to confront Moscow was usually an effort to avoid worsening already poor relations. After World War II, for example, the U.S. was willing to let Soviet war crimes committed during the war go unchallenged despite clear evidence of Soviet guilt. As early as 1943 the United States was aware that the Katyn Forest Massacre had been carried out by the Soviet secret police, or NKVD. Yet, in order to avoid inciting Soviet retaliation, the US remained silent.

Polish officer lapels and banknotes found in the mass grave at Katyn (via Wikimedia Commons).

The Katyn Massacre involved the killing of 4,243 Polish Army officers and intellectual leaders imprisoned by the Soviets after their invasion of Poland in September of 1940. Even though the USSR denied its participation at Katyn and blamed Germany for the massacre, the Germans presented hard evidence in 1943 that proved Soviet involvement. Medical examinations of the corpses of Polish officers exhumed in the Katyn Forest proved that these victims were killed no later than the spring of 1940. The Katyn Forest is located just east of the Belarusian-Russian border, an area Nazi forces did not reach until nearly a year after the massacre, making it impossible for the Germans to be involved.

In 1951 the United States government created a Special Committee responsible for a thorough investigation of the Katyn Forest massacre. Among the goals of this Committee were to discover which country was guilty for the crime against the Polish nation, as well as to disclose the truth about whether any United States government officials could be blamed for concealing information about this event. It did not take long for the members of the Committee to compile a staggering amount of evidence showing the guilt of the NKVD, however, the investigation of United States government officials proved to be far more challenging.

The Katyn Forest today (via Wikimedia Commons).

In some cases, the Committee had to interview the same government officials multiple times, as additional facts were revealed about their knowledge of the massacre that had been left unmentioned during their first testimony. In addition, the investigation revealed that at that time there were officials in the United States government who took it upon themselves to filter out of their reports any unflattering information about the USSR. Nevertheless, the data gathered by the Select Committee from these interviews showed that most government officials distrusted the Soviet authorities and suspected their guilt in Katyn Forest Massacre. However, they felt that they were in no position to denounce the actions of the Soviets, as it may have jeopardized the prospects of the Allied Forces’ victory. Moreover, such condemnation of the USSR would not have been supported by President Franklin Roosevelt, as he believed in the absolute sincerity of the Soviet government and considered recently discovered information by American emissaries to be German propaganda.

The former American Ambassador, Averell Harriman, and former Under Secretary of State, Summer Welles, claimed that the United States government acquiesced because, first, it believed in Stalin’s pledge to cooperate with the Western Democratic countries after the end of the war, and second, the U. S. was trying to secure Soviet participation in the war against Japan. Ultimately, there was a fear within the United States government that if a case against the Soviets was pursued over the Katyn massacre the USSR might seek revenge against the U.S. by making peace with the Nazis.

Letter from Beria, chief of the NKVD, to Stalin proposing the massacre of Polish officers held by Soviet troops, 1940 (via Wikimedia Commons).

As a result, the USSR suffered no penalty for its terrible crime against the Polish victims, which, as was later revealed, had been planned by Stalin to eliminate the potential for a Polish uprising in Soviet territories with strong historical connections to Poland. Stalin had also intended to create a pro-Soviet satellite out of Poland after the war, a process made much easier by the annihilation of Poland’s old guard officers. Many American government officials and organizations had correctly assessed the character of the USSR during the war, but chose not to condemn its actions, since it could have led to unpredictable consequences during World War II.

Sources:

Final report of the Select Committee to conduct an investigation and study of the facts, evidence, and circumstances of the Katyn Forest Massacre pursuant to H. Res. 390 and H. Res. 539. United States, Government printing office, Washington: 1952 (location of the document – LBJA, “World War II, Katyn Forest Massacre, 1952”, Box # 121)

You may also like:

After WWII: A Soviet View of U.S. Intentions.
Everyday Stalinism, by Sheila Fitzpatrick (2000).
The Unknown Gulag: The Lost World of Stalin’s Special Settlements by Lynne Viola (2007).

Photographing the German Air War, 1939-1945

By David F. Crew

During World War II, thousands of German “Propaganda Company” (PK) photographers took at least three and a half million pictures of every front on which the Germans were fighting. Hundreds of these photographs were published in mass circulation illustrated magazines and newspapers and seen by millions of readers. These images helped in significant ways to shape the way that Germans and Europeans saw the war between 1939 and 1945 and also to affect the visual memory of World War II up to the present day.

Benno Wundshammer (1913-1987) was one of these PK photographers. During World War II he was attached to the German Luftwaffe. He took photographs on almost all of the fronts—Poland, France, the Balkans, Russia, North Africa, Italy—where the German army fought. After 1945, he acknowledged that his images had often been used in the service of Nazi propaganda but dcnied that this had anything to do with their innate qualities. Wundshammer depicted himself as a craftsman intent only upon taking “good” pictures of the air-war. Yet it was this same self-image as a skilled practitioner of his craft, relentlessly searching for the “best” pictures of the war, that made Wundshammer so valuable to the Nazi regime. His pride in his work prevented him from ever questioning the job he was being asked to do. Nor were any of the photographs that Wundshammer submitted for publication seriously at odds with the visual needs of the Nazi regime.

Benno Wundshammer’s photograph of the pilot sitting in the cockpit of a Messerschmidt ME 110, May,1940 (Scherl Bilderdienst 4515)

Wundshammer was well-placed to take photographs of one of the central components and key emblems of Hitler’s new devastating Blitzkrieg—German warplanes, especially the Stuka dive bomber. He quickly discovered, however, that considerable difficulties confronted any photographer who wanted to take “good” pictures of the most dangerous moments of combat in the air. The central dilemma confronting the photographer was that the most dramatic moments of combat in the air which would have produced the best pictures were also the most dangerous. During combat in the air, the photographer had to man his machine gun because every single weapon on board had to be fired at the enemy. Sheer luck, as well as the photographer’s ability and experience, would determine whether he would be able to take any photographs while also shooting at the enemy. Confronted with the formidable difficulties of taking “good” pictures from a fast-moving plane, Wundshammer came to the conclusion that photographs alone could not show what he had experienced during an air battle; he would also have to write about it afterwards. In 1941, Wundshammer published Flyers-Knights-Heroes.With the Shark Squadron in France and other Reports of Combat. The book was produced by Verlag G. Bertelsmann in Gütersloh, a firm that made a great deal of money under the Nazis publishing very popular “war books.”

Wundshammer’s experience reminds us that what we remember visually as war depends not only upon what we can see in war photographs but also upon what these photographs do not, cannot, or will not show us.

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