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Author: Michael Munn
Publisher: Skyhorse Publishing, Inc.
ISBN: 1626362831
Category : History
Languages : en
Pages : 259
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Book Description
In Nazi Germany, the cult of celebrity was the embodiment of Hitler’s style of cultural governance. Hitler’s rise to power owed much to the creation of his own celebrity, and the country’s greatest stars, whether they were actors, writers, or musicians, could be one of only two things. If they were compliant, they were lauded and awarded status symbols for the regime; but if they resisted—or were simply Jewish—they were traitors to be interned and murdered. This fascinating analysis offers a shocking portrait of a Hitler shaped by aspirations to Hollywood-style fame, of the correlation between art and ambition, of films used as weapons, and of sexual predilections. The Führer believed he was an artist, not a politician, and in his Germany politics and culture became one. His celebrity was cultivated and nurtured by Joseph Goebbels, Germany’s supreme head of culture. Hitler and Goebbels enjoyed the company of beautiful female film stars, and Goebbels had his own “casting couch.” In Germany’s version of Hollywood there were scandals, starlets, secret agents, premieres, and party politics. The Third Reich would launch filmmaker and actress Leni Riefenstahl to prominence by making her its own glorifying documentarian, most famously in The Triumph of the Will, the innovative propaganda film starring Hitler and widely considered to be one of the greatest movies ever made. It is no coincidence that Eva Braun, Hitler’s longtime partner and wife for the two days leading up to their joint suicide, was a photographer, and in fact shot most of the surviving photographs and film footage of her lover. This book reveals previously unpublished information about the “Hitler film,” which Goebbels envisaged as “the greatest story ever told,” although it was ultimately trumped by the dictator’s own, real-life Wagnerian finale.
Author: Michael Munn
Publisher: Skyhorse Publishing, Inc.
ISBN: 1626362831
Category : History
Languages : en
Pages : 259
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Book Description
In Nazi Germany, the cult of celebrity was the embodiment of Hitler’s style of cultural governance. Hitler’s rise to power owed much to the creation of his own celebrity, and the country’s greatest stars, whether they were actors, writers, or musicians, could be one of only two things. If they were compliant, they were lauded and awarded status symbols for the regime; but if they resisted—or were simply Jewish—they were traitors to be interned and murdered. This fascinating analysis offers a shocking portrait of a Hitler shaped by aspirations to Hollywood-style fame, of the correlation between art and ambition, of films used as weapons, and of sexual predilections. The Führer believed he was an artist, not a politician, and in his Germany politics and culture became one. His celebrity was cultivated and nurtured by Joseph Goebbels, Germany’s supreme head of culture. Hitler and Goebbels enjoyed the company of beautiful female film stars, and Goebbels had his own “casting couch.” In Germany’s version of Hollywood there were scandals, starlets, secret agents, premieres, and party politics. The Third Reich would launch filmmaker and actress Leni Riefenstahl to prominence by making her its own glorifying documentarian, most famously in The Triumph of the Will, the innovative propaganda film starring Hitler and widely considered to be one of the greatest movies ever made. It is no coincidence that Eva Braun, Hitler’s longtime partner and wife for the two days leading up to their joint suicide, was a photographer, and in fact shot most of the surviving photographs and film footage of her lover. This book reveals previously unpublished information about the “Hitler film,” which Goebbels envisaged as “the greatest story ever told,” although it was ultimately trumped by the dictator’s own, real-life Wagnerian finale.
Author: Michael Munn
Publisher: Robson Books
ISBN: 9781849541893
Category : Fame
Languages : en
Pages : 0
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Book Description
" ... In Nazi Germany, the cult of celebrity was the embodiment of [Adolf] Hitler's style of cultural governance. The country's greatest6 celebrities, whether they were actors, writers or musicians, could be one of two things: if they were compliant they were lauded, buit if they resisted - or were simply Jewish - they were traitors to be interned and murdered. ... [This] book is [an] ... account of Hitler's fantasy of power and stardom."--Back cover.
Author: Bill Niven
Publisher: Yale University Press
ISBN: 0300200366
Category : Biography & Autobiography
Languages : en
Pages : 321
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Book Description
An exposé of Hitler's relationship with film and his influence on the film industry A presence in Third Reich cinema, Adolf Hitler also personally financed, ordered, and censored films and newsreels and engaged in complex relationships with their stars and directors. Here, Bill Niven offers a powerful argument for reconsidering Hitler's fascination with film as a means to further the Nazi agenda. In this first English-language work to fully explore Hitler's influence on and relationship with film in Nazi Germany, the author calls on a broad array of archival sources. Arguing that Hitler was as central to the Nazi film industry as Goebbels, Niven also explores Hitler's representation in Third Reich cinema, personally and through films focusing on historical figures with whom he was associated, and how Hitler's vision for the medium went far beyond "straight propaganda." He aimed to raise documentary film to a powerful art form rivaling architecture in its ability to reach the masses.
Author: Eric Rentschler
Publisher: Harvard University Press
ISBN: 0674266625
Category : Performing Arts
Languages : en
Pages : 480
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Book Description
German cinema of the Third Reich, even a half-century after Hitler's demise, still provokes extreme reactions. "Never before and in no other country," observes director Wim Wenders, "have images and language been abused so unscrupulously as here, never before and nowhere else have they been debased so deeply as vehicles to transmit lies." More than a thousand German feature films that premiered during the reign of National Socialism survive as mementoes of what many regard as film history's darkest hour. As Eric Rentschler argues, however, cinema in the Third Reich emanated from a Ministry of Illusion and not from a Ministry of Fear. Party vehicles such as Hitler Youth Quex and anti-Semitic hate films such as Jew Süss may warrant the epithet "Nazi propaganda," but they amount to a mere fraction of the productions from this era. The vast majority of the epoch's films seemed to be "unpolitical"--melodramas, biopix, and frothy entertainments set in cozy urbane surroundings, places where one rarely sees a swastika or hears a "Sieg Heil." Minister of propaganda Joseph Goebbels, Rentschler shows, endeavored to maximize film's seductive potential, to cloak party priorities in alluring cinematic shapes. Hitler and Goebbels were master showmen enamored of their media images, the Third Reich was a grand production, the Second World War a continuing movie of the week. The Nazis were movie mad, and the Third Reich was movie made. Rentschler's analysis of the sophisticated media culture of this period demonstrates in an unprecedented way the potent and destructive powers of fascination and fantasy. Nazi feature films--both as entities that unreeled in moviehouses during the regime and as productions that continue to enjoy wide attention today--show that entertainment is often much more than innocent pleasure.
Author: Ruth Ben-Ghiat
Publisher: W. W. Norton & Company
ISBN: 1324001550
Category : History
Languages : en
Pages : 446
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Book Description
What modern authoritarian leaders have in common (and how they can be stopped). Ruth Ben-Ghiat is the expert on the "strongman" playbook employed by authoritarian demagogues from Mussolini to Putin—enabling her to predict with uncanny accuracy the recent experience in America and Europe. In Strongmen, she lays bare the blueprint these leaders have followed over the past 100 years, and empowers us to recognize, resist, and prevent their disastrous rule in the future. For ours is the age of authoritarian rulers: self-proclaimed saviors of the nation who evade accountability while robbing their people of truth, treasure, and the protections of democracy. They promise law and order, then legitimize lawbreaking by financial, sexual, and other predators. They use masculinity as a symbol of strength and a political weapon. Taking what you want, and getting away with it, becomes proof of male authority. They use propaganda, corruption, and violence to stay in power. Vladimir Putin and Mobutu Sese Seko’s kleptocracies, Augusto Pinochet’s torture sites, Benito Mussolini and Muammar Gaddafi’s systems of sexual exploitation, and Silvio Berlusconi and Donald Trump’s relentless misinformation: all show how authoritarian rule, far from ensuring stability, is marked by destructive chaos. No other type of leader is so transparent about prioritizing self-interest over the public good. As one country after another has discovered, the strongman is at his worst when true guidance is most needed by his country. Recounting the acts of solidarity and dignity that have undone strongmen over the past 100 years, Ben-Ghiat makes vividly clear that only by seeing the strongman for what he is—and by valuing one another as he is unable to do—can we stop him, now and in the future.
Author: David Welch
Publisher: Routledge
ISBN: 1317620836
Category : History
Languages : en
Pages : 234
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Book Description
Based on a detailed examination of specific aspects of Nazi propaganda, this book (originally published in 1983) enhances the understanding of National Socialism by revealing both its power and its limitations. The work tackles aspects of Nazi propaganda which had been neglected in the past, but together they demonstrate the disproportionate role assigned to propaganda in one of the most highly politicised societies in contemporary European history.
Author: Mary-Elizabeth O'Brien
Publisher: Boydell & Brewer
ISBN: 9781571133342
Category : History
Languages : en
Pages : 308
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Book Description
The Nazi regime did not merely terrorize its citizens into submission; it also seduced them by offering stability, a traditional value system, a sense of belonging, and hope of a better standard of living. Nazi cinema's popularity rested on its ability to express positive social fantasies and promote the enchantment of reality, so that one would want to share in the dream at any price. This is an interdisciplinary study, written for scholars and students in the fields of film studies, German studies, history, critical studies, and political science, that explores how cinema participated in the larger framework of everyday fascism. The book examines how five film genres - the historical musical, the foreign adventure film, the home-front film, the melodrama, and the problem film - enchanted audiences and enacted shared stories that can tell us much about how family, community, history, the nation, and the war were imagined in Nazi Germany. The book analyzes thirteen motion pictures, many of which are not well known to English-speaking audiences: Wunschkonzert, Die große Liebe, Tanz auf dem Vulkan, Damals, Die Degenhardts, Opfergang, Kautschuk, Robert und Bertram, Verklungene Melodie, Frauen für Golden Hill, Das Leben kann so schön sein, Der verzauberte Tag, and Via Mala. Based on exhaustive research in German archives, the book examines, in addition to the films themselves, articles from the propaganda ministry's official organ, Der deutsche Film, daily trade sheets, fan magazines, and even studio press packages for individual stars and films. Mary-Elizabeth O'Brien is Professor of German at Skidmore College, Saratoga Springs, New York.
Author: Thomas Doherty
Publisher: Columbia University Press
ISBN: 0231535147
Category : History
Languages : en
Pages : 449
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Book Description
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
Author: Rolf Giesen
Publisher: McFarland
ISBN: 1476612692
Category : Performing Arts
Languages : en
Pages : 295
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Book Description
Hitler and the Nazis saturated their country with many types of propaganda to convince the German citizenry that the Nazi ideology was the only ideology. One type of propaganda that the Nazis relied on heavily was cinematic. This work focuses on Nazi propaganda feature films and feature-length documentaries made in Germany between 1933 and 1945 and released to the public. Some of them were Staatsauftragsfilme, films produced by order of and financed by the Third Reich. The films are arranged by subject and then alphabetically, and complete cast and production credits are provided for each. Short biographies of actors, directors, producers, and other who were involved in the making of Nazi propaganda films are also provided.
Author: K. Machtans
Publisher: Springer
ISBN: 1137032383
Category : History
Languages : en
Pages : 300
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Book Description
The first book-length study to critically examine the recent wave of Hitler biopics in German cinema and television. A group of international experts discuss films like Downfall in the context of earlier portrayals of Hitler and draw out their implications for the changing place of the Third Reich in the national historical imagination.
