Portrayal in The Media
Alfred Jodl has been portrayed by the following actors in film and television productions.
- Erik Hell in the 1943 Swedish film Det brinner en eld (There Burned a Flame).
- Vladimir Pokrovsky in the 1949 Soviet epic The Fall of Berlin.
- Boris Svoboda in the 1949 Soviet film The Battle of Stalingrad.
- Jack Baston in the 1951 United States film The Desert Fox: The Story of Rommel.
- Otto Schmöle in the 1955 West German film Der Letzte Akt (Hitler: The Last Ten Days).
- Walter Kohler in the 1962 United States film Hitler.
- Wolfgang Lukschy in the 1962 United States film The Longest Day.
- Hannes Messemer in the 1966 French/U.S. film Paris brûle-t-il? (Is Paris Burning?).
- Werner Dissel in the 1970 Eastern Bloc co-production Liberation.
- Richard Münch in the 1970 United States film Patton.
- August Kowalczyk in the 1971 Polish film Epilog norymberski (Epilogue at Nurnberg).
- Tony Steedman in the 1973 British television production The Death of Adolf Hitler.
- Philip Stone in the 1973 British film Hitler: The Last Ten Days.
- Wolfgang Preiss in the 1979 United States T.V. mini-series Ike: The War Years.
- Tony Steedman in the 1981 United States television production The Bunker.
- Joachim Hansen in the 1983 United States T.V. series The Winds of War and its 1988 sequel War and Remembrance.
- Bill Corday in the 2000 Canadian/U.S. T.V. production Nuremberg
- Christian Redl in the 2004 German film Downfall (Der Untergang)
- Krasimir Kutzoparov in the 2006 British television production Nuremberg: Nazis on Trial.
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Famous quotes containing the words portrayal and/or media:
“From the oyster to the eagle, from the swine to the tiger, all animals are to be found in men and each of them exists in some man, sometimes several at the time. Animals are nothing but the portrayal of our virtues and vices made manifest to our eyes, the visible reflections of our souls. God displays them to us to give us food for thought.”
—Victor Hugo (1802–1885)
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.”
—Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)