The idea of reviving a historical figure to return from the dead to our own time period is not new. Many novels and films have dealt with this premise before though usually they focus on the return of someone likable. In the German film Look Who’s Back (Er ist wieder da) we get Adolf Hitler in Berlin circa 2014.
Billed as a comedy, Look Who’s Back opens in the clouds, reminiscent of Leni Riefenstahl’s 1935 propaganda masterpiece Triumph of the Will. At first, Look plays like a science fiction film around the return of the deceased. It turns into a buddy-road picture, as Hitler and the recently fired, down-on-his-luck filmmaker Fabian Sawatzki (played by Fabian Busch) drive about Germany in Fabian’s mother’s floral delivery van. They film people’s reactions to Hitler in the hopes that Fabian can get the footage on the air at the TV station that fired him. (These scenes are actual reactions of unsuspecting people on the street to Hitler as played by the actor Oliver Masucci.) Is it a comedy? Yes. Is it funny? Yes. There are laugh-out-loud moments, several moments of uncomfortable laughter, as well as a few cringe-inducing scenes.
Eye on Africa has often talked about atrocities unfolding, or likely to unfold, in different African states. Most of this information is never collected by myself and is gleaned from news organizations within and outside of Africa. Journalists are perhaps the one group of people that I owe a deep gratitude to. Even when working under tough circumstances they still believe in telling the story, and telling it right. The reason I point this out is because the past year has been a fraught one for African journalists in several countries. From outright assassinations in South Sudan, to the erasure of press freedoms in Rwanda and Kenya, African journalists are quickly becoming an endangered group. So this month’s contribution will focus on the plight faced by journalists working in Africa, for without them, this column would not exist.
Eurovision Song Contest has served as a platform to strengthen both national and European identities and embrace diversity throughout every nation for over 60 years. The show’s vast influence expands to an audience of approximately 180 million people all over the world. Its expansive reach has not only sparked the careers of various performers, it has also allowed for the television program to have social, political, and cultural influence.
On Saturday, February 20th the Italian Cultural Center of Minneapolis & St. Paul presented 
This is the second half of a two part interview with Dr. Adam Muller from the University of Manitoba. CHGS interviewed Dr. Muller after his 
In November, the Center for Holocaust and Genocide Studies welcomed Dr. Adam Muller from the University of Manitoba to discuss his upcoming project, which creates a virtual First Nations residential school. Dr. Muller is part of the