Propaganda film
Propaganda film is the name for a documentary , short or fictional film that tries to manipulate the viewer in a targeted manner by evoking emotions and resentments . A propaganda film is often directly related to the actions of a government, a political group or an institution that initiates or promotes the production. As early as the First World War , the medium of film was first used by all warring parties with great effect for propaganda purposes.
In a broader sense, the term also includes films with which individual parties, interest groups or persons in the depiction tend to promote their political goals or attitudes in a way that forms their opinion.
Beginnings and First World War
- → see also Propaganda in the First World War
German Empire
Requirements for German film propaganda in the First World War
Shortly after its invention, the film had advanced to a social mass phenomenon in the German Empire - just as in the rest of Europe. By the turn of the century, film, along with other popular culture image and text media (such as trivial novels), had achieved the status of being the most important form of expression in modern life and consciousness. For example, in contrast to traditional media, film was able to cultivate modern sensitivities extremely well. Because of this pronounced mass effectiveness, the film medium was excellently suited for influencing the masses politically at the beginning of the First World War. But also because it was able to reach lower urban sections of the population, who avoided being influenced by lectures, educational events, press campaigns, etc.
Nevertheless, at the beginning of the First World War , the civil and military leaders in the German Reich showed practically no willingness to actively shape film propaganda. Various factors restricted active film propaganda: not only the (upper) bourgeoisie, the educated middle class and the well-known cultural institutions, but also the social democratic labor movement in the German Empire were generally hostile to the cinema. The Protestant and Catholic Churches were unanimous in rejecting the medium of film. Clerical circles even publicly attacked the new medium of culture. The film was denounced as a great danger to custom, morality and decency. Producers and movie theater owners were accused of shamelessly exploiting lower human instincts, such as the “mass sensationalism”. Many intellectuals saw the decline of the renowned, classical cultural media, such as books and theater, come through the so-called "filth and trash films". As a member of the conservative elite of the empire, one generally stayed away from the cinema. Both in the bourgeois public and in leading military circles, the press was the decisive medium for war reporting and thus for possible propaganda work. In the initial euphoria of the first months of the war, in which the German leadership assumed a quick victory in the “Blitzkrieg”, it was believed that, in contrast to the war opponents, film propaganda was “unnecessary”. Only “true pictures” should (may) be presented.
At the beginning of the war, there was a pronounced fear within the German army command that the enemy could misuse photographs of German troops from the front for espionage purposes.
Due to poor lighting conditions in the trenches, relatively sensitive film material and heavy camera equipment, the technical requirements for authentic film recordings on the front line were not ideal.
The beginnings of cinematic propaganda in Germany
At the beginning of the First World War, the political leadership and the German army command were far from doing progressive film propaganda. At the beginning of the war, four film companies (each operating with two cameramen) were allowed to shoot front-line shots under special conditions. Against the background of the pronounced fear of espionage, strict regulations stipulated that only "patriotically-minded, purely German companies" with "German capital" and "German recording equipment" were allowed to make film recordings. The cameramen had to stay in the war zone with an “ID of the General Staff”, which had to be personally approved by the chief of this General Staff.
The intensive precautionary measures in connection with the described unfavorable technical conditions meant that cameramen could hardly get high quality film recordings from the front. Film recordings were limited primarily to scenes behind the front, to the representation of pioneering work, equipment parks, etc. In addition, the recordings already approved by the military authorities at home also required approval from the local police license. As a result, the film material lost so much of its topicality, as it only took a few weeks for the recordings to find their way into German cinemas.
If you are looking for something like “German film propaganda” in the first half of the war, you will at most find what you are looking for in the so-called “ war newsreels ”; 10-20 minute reports of "current" war events, which were shown in the cinema before a main film. The war newsreels were produced by private companies, but they were obliged to “patriotic reporting”. In 1914, the so-called “ Eiko Week ” was the first German war newsreel on the market. Together with the “ Messter Week ”, which was shown for the first time just a few days later, the “Eiko Week” remained the only newsreel that could be seen in German cinemas until the end of the war.
However, the propaganda effect of the newsreels should not be overestimated. Even if, according to the newsreel producer Oskar Messter, his “Messter week” was seen by more than 34 million people in 16 countries. The basic problem of the newsreels was, as was the case with all other war recordings of that time, their lack of topicality. The viewers knew exactly that newsreels did not reflect the reality of the war, but were presented with images. The wartime newsreels were perceived as boring, and some viewers even saw them as an “annoying interruption in the program”.
Transformation phase
In the course of the First World War, the civil and military authorities of the German Reich went through a process of rethinking film propaganda that lasted for several years. Three main factors played a role in this.
The Entente's head start in terms of film propaganda
In general, at the beginning of the First World War, the conditions for an effective instrumentalization of the mass media for propaganda purposes were limited in all warring states. The state's propaganda work was distributed among various executive bodies and different areas of responsibility and was therefore often unstructured and fragmented, not only in Germany. There were, however, clear differences compared to the Entente powers when it came to recognizing the possibilities offered by the use of film as a successful means of influencing the masses. With its dominant position on the world market until the beginning of the war and a comparatively large production potential, the French film industry also provided good prerequisites for the French government to use the film for propaganda purposes. In France, even before the war began, experiences with anti-German propaganda films had been gained. For example, For example, some films about the last Franco-German War in 1870/71 depict alleged atrocities by German soldiers.
In the course of the war, the content of French and English propaganda also proved to be particularly effective, which, in addition to the representation in the press, on posters and in comics, was increasingly seen in feature films. The Entente Powers preferred either Kaiser Wilhelm II himself or his German soldiers (as fighting representatives of the German people) as enemy images . The German army was denounced with the Kaiser as their particularly vile leader as "cruel Huns" without any culture or decency. The list of atrocities accused of the German soldiers is long and includes the destruction of civil buildings, churches and hospitals, the torture of captured soldiers and, above all, the mutilation, desecration and murder of the defenseless civilian population. Because of the particularly dramatic and brutal content of French and English propaganda, it is also known as "atrocity propaganda". This atrocity propaganda was shown not only in the countries of the Entente themselves, but also in neutral and friendly foreign countries and did not fail to have an impact. This successfully contributed to further aggravating anti-German sentiment, especially in the United States of America.
The success that English and French propaganda films achieved - not only in influencing their own population, but also in neutral and allied countries - could only be ignored by the military and civilian leadership in Germany in the long term.
The film propaganda activities of the German economy
At the beginning of the war, worldwide film exchange collapsed for about ten years after the borders were closed and international trade and traffic were severely restricted. The German film industry hoped to be able to share the considerable economic potential of the German film market among themselves by eliminating the previously overpowering French competition and also to be able to use the cinema as an effective advertising platform.
Business plans for “planned, non-profit advertising for Germany's culture, economy and tourism abroad” go back to 1912 with the publisher Siegfried Weber. Siegfried Weber resumed the same plans in the spring of 1916 at a time when the highest Reich authorities were still far from recognizing film propaganda as an effective means of influencing the will of the people. The conference organized by Weber on April 6th, attended by leading German business representatives, led to the establishment of the " Deutsche Lichtbild Gesellschaft " (DLG) on November 18, 1916 in Berlin. Although DLG representatives repeatedly sought (financing) help for the new film company from government agencies and insisted on the importance of cinematic educational work, the DLG was founded without the active involvement of the military or the government.
The DLG film program appeared twice a week and each had a total length of 900 to 1000 meters of film roll. In addition to recordings of an advertising and propaganda character of Germany's landscapes, historical cities and industrial plants etc., the program also included a short entertainment program in order not to let the propaganda character of the recordings become too obvious. With the example of the DLG, the German economy showed the leadership of the German Empire how cinema and film can be instrumentalized for advertising and propaganda purposes.
The situation at the front until mid-1916
The decisive impetus for a rethinking process in terms of (film) propaganda was ultimately provided by the situation on the front lines of the World War up to mid-1916. After great initial successes, the German hope for a quick victory in the "Blitzraße War" was finally dashed. The German attack on France got stuck on the Verdun battlefields and the situation on the eastern fronts deteriorated. In view of the resulting growing tiredness of war and a growing longing for peace, the German authorities of the Reich and the Länder finally recognized the need to reform their propaganda activities in some form.
The establishment of the image and film office at the Military Office of the Federal Foreign Office (MAA)
The first step was the establishment of a new propaganda department in July 1916, the "Military Department of the Foreign Office" (MAA), under the direction of Lieutenant Colonel Hans von Haeften . This propaganda organ was equipped with a military department for film and photography at the end of July , which was placed under the management of Baron Fritz von Stumm and which was equipped with staff for seven film troops.
The establishment of the Image and Film Office (BuFA)
Mainly because of the English maritime trade blockade, the supply situation in the German Reich worsened in the winter of 1916/17. In view of the unimaginable impoverishment of large sections of the population with at least 700,000 starvation deaths, the mood in the German population reached ever lower points, despite all the increased propaganda efforts under the military office of the Foreign Office.
Under the impression that the war fatigue continued to grow, the Supreme Army Command (OHL) pushed ahead with further propaganda efforts. Among other things, because, in the opinion of the Army Command, the German foreign propaganda did not have the desired results. The decisive figure in the promotion of German propaganda work can be found in the Quartermaster General of the OHL, Erich Ludendorff . When the military position of the Foreign Office was directly subordinated to this in January 1917, Ludendorff, with a deadline of January 30, 1917, merged the MAA's "image and film exploitation agencies" (which were under construction) into a separate authority, which was named Bild- and Filmamt (BuFA) should bear. Lieutenant Colonel von Haeften was to take over the management of the new authority.
For the cinematic “reconnaissance” of the inland so-called “reconnaissance units” were created by the general command, which were led by so-called “film officers”. As “specialists”, they were responsible for the clarification by means of film. With the film officers already appointed by the Deputy General Command at that time, all questions relating to the investigation by means of film were to be clarified at a meeting in the premises of the BuFA in Berlin with leading representatives of the Ministry of War and the Military Office of the Foreign Office.
If the results of this important meeting on March 12th and 13th 1917 are summed up, several main aspects can be highlighted: Support for propaganda work should be provided by representatives of the independent cities, the school administration, the press, trade, industry, and the craftsmen and the workers are brought in. Germany wanted to be "enlightened" down to its smallest districts, with the aim of adapting the material to local conditions. Propaganda films should be produced in three different forms: feature film, educational film and advertising film. In addition, investments should be made in the quality of the films, where Germany still saw some catching up to do with the enemy nations. Ultimately, it was agreed at the meeting that feature films and educational films should be produced by the film industry, which was also given permission to shoot film material in the front-line area. The public (and thus also the film industry) was then informed at the end of March 1917 about the establishment of the Image and Film Office.
A central point for film and image propaganda, the BuFA
From then on, the Bild und Filmamt was the only German propaganda agency responsible for supplying the German press and the population with film and image material. The BuFA also took on all tasks that were necessary for the provision of German film propaganda abroad. In addition, the approx. 800 front cinemas for German soldiers were supplied with appropriate film material. The distribution of the BuFA films was subject to private companies such as B. the " Projektions-AG Union (PAGU)" from Berlin. For the procurement of the front shots necessary for the film production, the BuFA took over the seven film crews who had already been available to the MAA film department. The number of "cinema operators" on behalf of the BuFA was increased to nine in the course of 1927. These film troops consisted of a military officer, a civilian officer and up to 10 NCOs or corporations. Each film crew was equipped with a motorized vehicle. The Federal Foreign Office took over the financing of the BuFA film distribution. The other costs incurred by the BuFA were added to the war costs and borne by the war ministry and the general administration.
In order to be able to further increase the effectiveness of film propaganda at home and abroad, the German war ministry founded a film company in December 1917, which was actually under the control of state institutions, in competition with the DLG, " Universum Film AG " (UFA). In order to disguise the close ties between the German government and the UFA, especially from neutral foreign countries, these were hidden behind various links with the German economy.
The constant tensions over responsibilities for the BuFA between the OHL and the civil imperial authorities in the course of the existence of the BuFA could only be resolved by subordinating the BuFA to the Prussian War Ministry on January 28, 1918.
The German propaganda film under the Image and Film Office
The first screening of BuFA films can take place on April 27, 1917 in the banquet hall of the Hotel Rheingold in Berlin. The five films " Prisoner Camp ", " The Krupp Works " and " The Iron Film" were shown. Part 3: Steelworks ”,“ A day with Field Marshal Hindenburg ”,“ The mine flotilla in the Baltic Sea ”and“ The field gray groschen ”. In addition, the French feature film, " The Revenge of the Belgian Woman " was cited as an example of enemy propaganda . The BuFA celebrated a great success just a few days later with the world premiere of the film " Graf Dohna and his Seagull ". The film had been described by the press as a "social event" and an "invaluable certificate for all time".
During the First World War, the BuFA produced various forms of film propaganda, both feature films and films with a documentary character. A large number of films on various topics can be found in the archives. Among other things, advertising films for war bonds, front-line films, training films and films that are intended to document the attachment of German soldiers to the home front.
In the propaganda films of the BuFA, the emphasis on the solidarity of the politico-military leadership of the empire with the emperor and the people plays an important role. The emperor and the ruling house already played a prominent role in the war newsreels and were also popular objects of cinematic representation in propaganda films. One example is the film “ The German Emperor and His Allies ” (1917), which reports on the visit of Kaiser Wilhelm II to Constantinople and the battlefields of Gallipoli.
The BuFA saw it as its task to make propaganda film material accessible to the broadest possible group of people. From August 1917, the BuFA also offered films for young people. Usually a longer feature film was shown together with a non-fictional short film. Such youth programs were announced as normal cinema programs to which young people were also allowed.
After the extremely modest beginnings of film propaganda in Germany, the production figures for German propaganda films increased massively under the direction of the BuFA. In the course of its portfolio, 246 films with a documentary character were shot under the direction of the BuFA.
| Type | Film samples |
|---|---|
| Strengthening morale | Your non-commissioned officer , 1914 |
| The song of the submarine man sounds high , 1917 | |
| U-boats out! With submarine 178 against the enemy , 1918 | |
| Advertisement to buy war bonds | Paulchen's kiss of millions , 1918 |
Austria-Hungary
During the First World War, the Kuk War Press Quarters (KPQ) was responsible for the propaganda activities of Austria-Hungary . In order to do justice to the growing importance of film and its propaganda role, the Austrian industrialist and film pioneer Sascha Kolowrat-Krakowsky was entrusted with the management of the KPQ film exhibition. With the Sascha war weekly report , he brought war newsreels to cinemas as early as the end of 1914. The war journal of the Viennese art film industry existed a little longer, from September 1914 .
The first propaganda film was released on May 22, 1914 and was a documentary: Our Navy . The first propagandistic feature films appeared from 1915 and were intended to arouse enthusiasm for war among the population. For example Mit Herz und Hand fürs Vaterland (1915) with the then star of the Austrian silent film, Liane Haid , or The Dream of an Austrian Reservist (1915). Later films were also made that were supposed to strengthen the sense of community among the population of the empire, such as My Neighbor's Child (1918).
In addition, manipulative documentaries with titles such as The Liberation of Bukovina , War at 3000 Meters Altitude , Battle Day with the Tyrolean Kaiserjäger and The Collapse of the Italian Front appeared .
| Type | Film samples |
|---|---|
| Demonstration of military strength | Our navy ( WAF , 1914) |
| Advertisement to buy war bonds | The war godfather ( Sascha film industry , 1915) |
| Soldier recruitment propaganda | With heart and hand for the fatherland , With God for emperor and empire ( Jakob Fleck , Luise Fleck , 1915) |
| Strengthening morale | Victorious through Serbia (Sascha-Film, 1915/1916) |
France
| Type | Film samples |
|---|---|
| Anti-German films | Vendémiaire (1918) |
| Pacifist films | J'Accuse (1918) |
Turkey
| Type | Film samples |
|---|---|
| Ayastefanos'daki Rus Abidesinin Yıkılışı |
United States
| Type | Film samples |
|---|---|
| Advertisement for the American entry into the war | The Battle Cry of Peace (1915) |
| Anti-German films | Hearts of the World (1918), The Heart of Humanity (1918), The Kaiser, the Beast of Berlin (1918), The Unbeliever (1918) |
| Justification of the discrimination against blacks as well as advertising for and idealization of the Ku Klux Klan | The Birth of a Nation (1915) |
Between the wars and the Second World War
Germany: Weimar Republic
| Type | Film samples |
|---|---|
| Anti-Versailles films | The Black Shame ( Carl Boese , 1929) |
| Anti-war films | No man's land ( Victor Trivas , 1931), Western Front 1918 ( Georg Wilhelm Pabst , 1930) |
Germany: Proletarian Film
In the years around 1930, along with proletarian film in Germany, communist film propaganda also gained momentum for the first time . Film companies such as Prometheus Film and Filmkartell “Weltfilm” GmbH began to use the medium not only to document social grievances, but also to depict the work of the political left . In addition to documentaries and advertising films, the first proletarian films were made, such as Ums Daily Bread (1928/29), Mother Krausen's Drive to Happiness (1929) and Kuhle Wampe or: Who Owns the World? (1931/32) based on a screenplay by Bertolt Brecht .
Germany: National Socialism
Among the feature films from the National Socialist era , films with manifest political-propagandistic content make up 14.1% (Albrecht). While feature films as “cheerful films” were primarily intended to entertain and distract, the politically explicitly agitating Nazi propaganda was mainly reserved for newsreels and documentaries , which were always shown in the cinema as a supplement. It was only after the German invasion of Poland on September 1, 1939, that the number of propagandistic fiction films rose and reached its peak with Veit Harlan's anti-Semitic fictional film Jud Süß or the compilation film Der Ewige Jude (both 1940), which was presented as a documentary, only to decline again towards the end of the war.
A distinction must be made between state-commissioned films on the one hand and propaganda films on the other hand that were produced by the film industry in a kind of anticipatory obedience with the National Socialist propaganda films. The latter group includes e.g. B. the films Hitlerjunge Quex , SA-Mann Brand and Hans Westmar (all 1933). The state-commissioned films that were produced on behalf of the Reich Ministry for Public Enlightenment and Propaganda under the personal influence of Joseph Goebbels include: B. Leni Riefenstahl's Olympia film from 1936 and the film Kolberg from 1945.
The most important means of National Socialist film propaganda was polarization, that is, the juxtaposition of overdrawn ideal and enemy images . In this way z. B. anti-British, anti-Russian , anti-Polish and anti-Semitic propaganda films. Many films were produced specifically in preparation for political measures. I indict (1941) - a film on the subject of "killing on demand" - was supposed to create the emotional basis for acceptance of the euthanasia law , for example .
Austria First Republic
- The newsreel as state propaganda for Austrofascism
- Federal Chancellor Dr. Dollfuss dead (1934), glorification of the Chancellor who was murdered by the National Socialists
- The Fatherland Front (1938), promotion of Austrofascism and "Austrianism"
Italy under fascism
| Type | Film samples |
|---|---|
| Advertise the fascist movement | Camicia Nera (The Black Shirt, 1933), Vecchia Guardia (The Old Guard, 1936) |
| Nationalist period films | 1860 (1934), Storms over Morreale (1938) |
| Monumental films with fascist references | Carthage's Fall (1937) |
| War films (Colonial Wars, Spanish Civil War, Second World War) | Lo Squadrone Bianco (1935), L'Assedio del'Alcazar (1940), Un Pilota ritorna (1941), La Nave bianca (1941) |
Great Britain
| Type | Film samples |
|---|---|
| War propaganda films by Humphrey Jennings (selection) | London Can Take It! (1940), This Is England (1941), Listen to Britain (1942) The Heart of Britain (1941), The Silent Village (1943), Fires Were Started (1943), A Diary for Timothy (1945) |
| Other war propaganda | In Which We Serve (1942), Went the Day Well? (1942), One of Our Aircraft Is Missing (1942), The Life and Death of Colonel Blimp (1943), |
United States
| Type | Film samples |
|---|---|
| Pacifist films | The Four Horsemen of the Apocalypse (1921), The Great Parade (1925), Nothing New in the West (1930), The Road to Glory (1936) |
| Patriotist films | Sergeant York (1941) |
| Anti- Nazi and anti-fascist films | Confessions of a Nazi Spy (1939), Whom the Hour Strikes (1943), Der Fuehrer's Face (1942), The New Spirits (1942), Casablanca (1942), The Ducktators (1942), Hitler - Dead or Alive (1942) , Hitler's Madman (1943), Ambassador in Moscow (1943), Die Henker (1943), The Negro Soldier (1943), Education for Death (1943), Reason and Emotion (1943), Das Rettungsboot (1944), Enemy of Women (1944), Why We Fight (1943-1945) |
| Anti-Japanese Films | Lady from Chungking (1939), Commando Duck (1944) |
Soviet Union
| Type | Film samples |
|---|---|
| Revolution advertising | Strike (1924), Battleship Potemkin (1925), The Mother (1926), October (1927), The End of Saint Petersburg (1927), Deserter (1933), Chapayev (1934), The Fishermen's Revolt (1934), Us from Kronstadt (1936) |
| Justification of collectivization and industrialization | Turksib (1929), The General Line (1929), Earth (1930), Enthusiasm (1930) |
| Personality cult | Three songs about Lenin (1934), Chapayev (1934), Lenin in October (1937), Ivan the Terrible (1943) |
| Anti-religious films | The General Line (1929), Enthusiasm (1930) |
| Anti-western films | The Strange Adventures of Mr. West in the Land of the Bolsheviks (1924), Ivan the Terrible (1943) |
| Anti-German and anti-Nazi films | Alexander Nevsky (1938). |
From 1945 until today
GDR
| Type | Film samples |
|---|---|
| Anti-western films | Encrypted to Boss - Failure No. 5 (1979), Chronicle of a Murder (1965), The Flight (1977), The Kinnhaken (1962), Reserved for Death (1963), The Heyde-Sawade Affair (1963) |
| Pro-GDR and system propaganda | When Martin was fourteen (1964), Approach Alpha 1 (1971), Mayor Anna (1950), Three of Us (1965), Always Ready (1950) |
| Class struggle films | From my childhood (1975), farmers fulfill the plan (1952), Ernst Thälmann - son of his class (1954), Ernst Thälmann - leader of his class (1955), educational goal of class warriors (1967), the invincible (1953), our daily bread (1949), goods for Catalonia (1959) |
North Korea
| Type | Film samples |
|---|---|
| Anti-Japanese Films | The Flower Girl (1972) |
United States
| Type | Film samples |
|---|---|
| Anti-Soviet / anti-communist films | Make Mine Freedom (1948), I Married a Communist (1949), The Big Lie (1951), I Was FBI Man MC (1951), Invasion Against USA (1952), Ambassador of Fear (1962), The Green Devils (1968 ), Die Rote Flut (1984), Missing in Action I-III (1984–1988), Invasion USA (1985), Rambo III (1988), Karate Tiger 2 (1987), Red Scorpion (1989) |
| Patriotic and militaristic films | Top Gun - They Fear Neither Death nor the Devil (1986), Independence Day (1996), Air Force One (1997), The Patriot (2000), Pearl Harbor (2001), Act of Valor (2012), Olympus Has Fallen - The World in Danger (2013), White House Down (2013), Lone Survivor (2013) |
Germany
| Type | Film samples |
|---|---|
| Denial of man-made global warming | The climate swindle - How the eco-mafia rips us off (2010), The short legs of the climate lie (2011) |
Austria
| Type | Film samples |
|---|---|
| EU skepticism | Bulb Fiction (2011) |
United Kingdom
| Type | Film samples |
|---|---|
| Denial of man-made global warming | The Great Global Warming Swindle (2007) |
Turkey
| Type | Film samples |
|---|---|
| Anti-western films | Valley of the Wolves (2006), Fetih 1453 (2012) |
| pro-Turkish propaganda | Rice (2016) |
China
| Type | Film samples |
|---|---|
| Anti-western films | The Opium War (1997) |
Netherlands
| Type | Film samples |
|---|---|
| Islamophobia | Fitna (2008) |
European Union
| Type | Film samples |
|---|---|
| EU propaganda | Growing together (2012), The Great European Disaster Movie (2015), Germany without EU (2015) |
literature
- Gerd Albrecht: National Socialist Film Policy, a sociological study of the feature films of the Third Reich . Enke, Stuttgart 1969 DNB 454554516 , Hanser, Munich 1975, ISBN 3-446-12073-4 .
- Hilmar Hoffmann: "And the flag leads us into eternity". Propaganda in Nazi films . Fischer Taschenbuch, Frankfurt am Main 1988, ISBN 3-596-24404-8 .
- Hans Krah: "History (s) NS-Film". Nazi traces today. 2nd Edition. Ludwig, Kiel 1999, ISBN 3-933598-00-1 .
- Erwin Leiser: “Germany, awake!”. Propaganda in Third Reich film . rororo 12598, Reinbek near Hamburg 1968, ISBN 3-499-12598-6 .
- Sylke Hachmeister: Cinema propaganda against the sick: the instrumentalization of the feature film “Ich klage an” for the National Socialist “euthanasia program”, Nomos , Baden-Baden 1992, ISBN 3-7890-2804-5 (= Nomos university publications / cultural studies , also a dissertation at the University of Münster 1991).
- Dorothea Hollstein: "Jud Süß" and the Germans. Anti-Semitic prejudices in the National Socialist feature film . Fischer Taschenbuch, Frankfurt am Main 1983, ISBN 3-548-35169-7 (also published as Dorothea Hollstein: Antisemitische Filmpropaganda. The Depiction of the Jew in National Socialist Fiction . Publishing House Documentation, Munich and Berlin 1971, ISBN 3-7940-4017-1 ).
- Peter Longerich : Goebbels. Biography . Siedler Verlag, Munich 2010, ISBN 978-3-88680-887-8 .
- Hans Strömsdörfer: Watching the Enemy: Propaganda Films in World War II . Tectum , Marburg 2013, ISBN 978-3-8288-3169-8 .
- Jud Süss - Propaganda film in the Nazi state (exhibition catalog, Stuttgart, December 14, 2007 to August 3, 2008, editor: Ernst Seidl), House of History Baden-Württemberg , Stuttgart 2007, ISBN 978-3-933726-24-7 .
See also
- German film history
- Reservation film
- List of the highest rated Nazi feature films , list of the German films banned under the Allied military censorship
- Entertainment films under National Socialism
- Entertainment film
Web links
- Film in the Nazi state: Nazi propaganda films
Individual evidence
- ^ Comparison: Sabine Hake: Film in Deutschland. History and Stories since 1895. Hamburg 2004, p. 28 ff.
- ↑ Comparison: Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 408.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 7 ff.
- ↑ Comparison: Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 385 f.
- ^ Hans Barkhausen: Film propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 25.
- ^ Hans Barkhausen: Film propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 24.
- ↑ Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 385.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 21 ff.
- ↑ Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 404.
- ↑ Ulrike Oppelt: Film and Propaganda in the First World War. Propaganda as media reality in current affairs and documentary films. Stuttgart 2002, p. 110.
- ↑ Comparison: Helmuth Korthe: The mobilization of the image - media culture in the First World War. In: Matthias Kamasin, Werner Faulstich (Hrsg.): War - Media - Culture. Munich 2007, p. 36 ff.
- ↑ Comparison: Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 383 ff.
- ^ Hans Barkhausen: Film propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 37f f.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 37 ff.
- ↑ Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 408.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 85.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 27 ff.
- ↑ Comparison: Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 409.
- ↑ Comparison: Ulrike Oppelt: Film and Propaganda in the First World War. Propaganda as media reality in current affairs and documentary films. Stuttgart 2002, p. 106 ff.
- ↑ Comparison: Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 410.
- ^ Comparison: Hans Barkhausen: Film Propaganda for Germany, in the First and Second World War. Hildesheim 1982, p. 96 ff.
- ↑ Ulrike Oppelt: Film and Propaganda in the First World War. Propaganda as media reality in current affairs and documentary films. Stuttgart 2002, p. 120.
- ↑ Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 410.
- ↑ Ulrike Oppelt: Film and Propaganda in the First World War. Propaganda as media reality in current affairs and documentary films. Stuttgart 2002, p. 123.
- ↑ Ulrike Oppelt: Film and Propaganda in the First World War. Propaganda as media reality in current affairs and documentary films. Stuttgart 2002, p. 412 ff.
- ↑ Uli Jung, Martin Loiperdinger (ed.): History of documentary film in Germany. Volume 1: Empire 1895–1918. Stuttgart 2005, p. 421 f.