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Holocaust ‘Book of Names’ to be inaugurated at the UN underscores the individual identities of the 6 million
When Yad Vashem was created in 1953 on the slopes of Jerusalem’s Mount of Remembrance to commemorate the Holocaust, its founders understood that one of the central functions of the institution would be to document the names of the 6 million Jewish victims.
It was seen as a moral imperative: to demonstrate that behind the almost inconceivable number were real individuals whose lives were cut short by the Nazis.
Now, to mark International Holocaust Remembrance Day on Jan. 27, Yad Vashem is inaugurating its Book of Names — a monumental installation containing the names of 4,800,000 victims of the Shoah — at the United Nations headquarters in New York.
Among those participating in the Book of Names opening ceremony on Jan. 26 will be U.N. Secretary General António Guterres, Israel’s permanent representative to the United Nations, Ambassador Gilad Erdan, and Yad Vashem’s chairman, Dani Dayan, a former consul general of Israel in New York.
“The Shoah was the murder of 6 million individual Jews. Each one who died deserves to be remembered as an individual, and not only as part of a nameless collective,” Dayan said.
The Book of Names will be on display at the United Nations for a month. Afterward it will be transferred to its permanent location at Yad Vashem, the World Holocaust Remembrance Center, in Jerusalem, where it will be open to public viewing in time for Yom HaShoah, the Israeli and Jewish Holocaust remembrance day, in April.
The installation is an updated version of the Yad Vashem Book of Names that has been on permanent display at the Auschwitz-Birkenau State Museum in Poland since 2017. The new version, which contains 500,000 additional names, stands 6.5 feet high and approximately 3.3 feet wide. Its total length is 26.5 feet. The massive volume lists the names of the victims in alphabetical order and, where the information is known, includes their birth dates, hometowns and places of death. The book has blank pages at the end symbolizing the approximately 1 million victims whose names are not yet recorded.
The names in the Book are sourced from Yad Vashem’s Central Database of Shoah Victims’ Names.
“We have been collecting the names of the individual Holocaust victims since 1954, mainly through Pages of Testimony,” said Alexander Avram, director of Yad Vashem’s Hall of Names and the Central Database of Shoah Victims’ Names. The Pages of Testimony are one-page forms that survivors and remaining family and friends complete with the names and biographical information of the victims.
“Starting about 20 years ago, we have been able to go beyond these pages and look to thousands of other sources for names,” Avram continues. “These include lists of victims produced by federal archives or organizations in different countries, deportation lists compiled by researchers and museums, and names gathered by memorial sites and institutions. We have also sourced hundreds of thousands of names from our own collections.”
The special team that finds the names and archives them in Yad Vashem’s names database is challenged by the fact that the Nazis either tried to eliminate traces of their crimes against humanity by destroying records, or never registered Jews’ names in the first place — especially in Eastern Europe.
“Few ghettos had censuses or name registrations,” noted Avram. “Hungarian transport lists had numbers, but not names — and they were all taken to extermination sites. Similarly, there were only numerical reports of the Jews killed by the Einsatzgruppen [the mobile paramilitary killing squads organized by the Nazis]. At Auschwitz, 900,000, men, women and children were sent straight to their deaths. Only the names of those sent to slave labor there were registered on cards, and the Nazis destroyed most of these records.”
The Book of Names is one component of Yad Vashem’s new strategic plan to improve and increase Holocaust remembrance in Israel and the world at a time when the number of survivors is dwindling and Holocaust denial and antisemitism are on the rise, Dayan said.
The names in the book are sourced from Yad Vashem’s Central Database of Shoah Victims’ Names, which the institution has been collecting since 1954. (Courtesy of Yad Vashem)
In addition to the permanent installations at Auschwitz and Yad Vashem, there are plans for a third version of the book to be created as a traveling exhibition.
“Our mission will be much more challenging, but also much more important and vital,” Dayan said of the coming era when no survivors remain. “We have to find innovative ways to reflect on and educate about what happened. I believe that you cannot remain indifferent to such a huge display when you see it.”
Dayan said he first experienced the power of the installation when he traveled to Auschwitz to see its initial version and found the names of his father’s uncles who were murdered in Poland.
New Yorker Bronia Brandman, a child survivor of Auschwitz originally from Jaworzno, Poland, was similarly moved when she embarked on a “roots trip” with her grandson Sruli Klaristenfeld in April 2017. Brandman’s large immediate and extended families were almost entirely wiped out by the Nazis.
Klaristenfeld navigated through the massive Book of Names at Auschwitz-Birkenau and found the names of his grandmother’s parents and other relatives. “It was a physical and permanent manifestation of their memory,” Klaristenfeld said.
Brandman said the impact of the monumental installation cannot be underestimated.
“People are indifferent. Many have no concept of the Holocaust ever happening and how it could be that 6 million innocent people were murdered in cold blood, including 1.5 million children,” she said. “The importance of the Book of Names is that the victims are immortalized for the future, and the past is never forgotten.”
Dayan said he looks forward to the Book of Names’ arrival at Yad Vashem after its display at the United Nations.
“Yad Vashem is the natural permanent home for the Book of Names,” Dayan said. “The public will be able to come and browse and find relatives, people with the same name as theirs or from the same locations as their families — or even to just pay respect to the victims.”
Avram said he expects the pages of the new book to be as worn from touch by visitors seeking the names of their family members as are the pages of the Book of Names exhibited at Auschwitz.
“Many families need a tangible, tactile way to reunite with the memory of the victims,” he said. “It’s the closest we can get to providing a gravestone.”
Meanwhile, the work of recovering the unknown victims’ names will continue apace, as it has for the last seven decades.
“It’s a debt we have toward the victims,” Dayan said. “We cannot let them be consigned to the lost pages of history. That is our promise to them — and to future generations.”
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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