Propaganda and the German Cinema, 1933-1945
David Welch
Language: English
Pages: 352
ISBN: 0198219741
Format: PDF / Kindle (mobi) / ePub
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German youth was not only assimilated into the Nazi Weltanschauung, but they were also used to encourage the young generation to enter the movement. The Jugendfilmstunden thus supplemented the initial work carried out in the schools and provided the second tier of a comprehensive system for the organization and indoctrination of every individual. Moreover, 21 Propaganda/German Cinema 22 29/1/01 16:05 Page 22 PR OPAGANDA AND THE GE R MAN CI NEMA 1933–1945 encouraged by the success of the.
But rather sacrificed for the cause. It is interesting to note that in the two other films in this genre (Hitlerjunge Quex and Hans Westmar), the hero figures are deified through dying heroic deaths for the Movement. In this, the earliest of the films, Fritz does not die, although he does come near to death on one occasion. Apart from this distinguishing factor, Fritz possesses all the qualities of the traditional Nazi martyr figure: he is a true Aryan German with ascetic features and a Nordic.
The Chain Without End’), quoted in J.W. Baird, The Mythical World of Nazi War Propaganda 1939–45 (Minneapolis, 1974), p. 8. 33. J.P. Stern controversially maintains that Chamberlain’s work was not particularly anti-Semitic. Stern, p. 51. 34. H. S. Chamberlain, Foundations of the Nineteenth Century, trans. J. Rees (New York, 1912), vol. I, pp. lxvi–lxviii. 35. A. Speer, Inside the Third Reich (London, 1971), p. 119. 36. BA, Sammlung Brammer, No. 82, 27 January 1936. 37. BA, Sammlung Sänger (Aus.
No matter whether he comes from the furnace, the drawing board, from the laboratory, or the work bench! I will teach him what little one who is departing can teach one just arriving. For the born leader needs no teacher other than his own genius. [End of film.] National Socialism looked to a strong leader, steeped in German myths, who would take charge of the interests of the nation and race. Triumph des Willens highlighted the emergence of the new ‘homo germanicus’ – a man of destiny with a.
Must show meaning to life by means of the timeless authenticity of particular historical events, situations, and personalities.40 Historical films for the Nazis were only relevant if they exploited contemporary themes in a historical context concentrating on the ‘great men’ in Germany’s past who embodied aspects of the National Socialist Weltanschauung. This allowed for flexibility and easy manipulation of the themes to be disseminated. More importantly, such films invited comparisons with the.