Abstract
The cinema of the NS period continues to be a fiercely debated topic, occupying an ambiguous terrain between the conventional categories of ‘information’ and ‘entertainment’, between tendencies already activated during the Weimar period and NS intentions, between active propaganda and diversion, as well as between the requirements of a political-ideological and a financial enterprise. How useful all these distinctions are remains a moot point, as the ongoing debate on the artistic merits of Leni Riefenstahl’s films has shown. In all, the cinema of the NS period displayed a remarkable diversification of themes, approaches and techniques that helped it to avoid a definitive categorisation as either ‘art’ or ‘propaganda’, information or entertainment, ideology or culture. Its variety of genres and blurring (either deliberate or inadvertent) of the distinctions between ‘reality’, ideological projection, entertainment and didactic manipulation has puzzled analysts ever since the 1940s, starting with the first authoritative study of NS cinema by Siegfried Kracauer.1 For example, is a seemingly unpolitical comedy an innocent, value-free pursuit of pure entertainment? Does a newsreel simply depict reality or align facts to an ideologico-political project? Is the use of historical inference in film purely didactic or consciously manipulative?2 Is a self-styled ‘documentary’ more or less political/ideological when it claims to rest on factual (visual and textual) evidence? Invocation and integration of ‘facts’ does not necessarily amount to a depiction of ‘reality’, in the same way that the fictional does not automatically purport to be unreal; factual ‘evidence’ and depicted ‘reality’ can easily be aesthetically and emotionally entertaining, whilst spectacle can be viciously political, enforcing and sustaining long-term patterns of ‘cultural hegemony’.3
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
S Kracauer, From Caligari to Hitler: A Psychological History of the German Film (Princeton: Princeton University Press, 1974).
A Hewitt, Fascist Modernism: Aesthetics, Politics, and the Avant-Garde (Stanford: Stanford University Press, 1993), 163 ff.
A Gramsci, Selection from Prison Notebooks (London: Lawrence and Wishart, 1971), 440 ff;
C Buci-Glucksmann, ‘Hegemony and consent: a political strategy’, in A S Sassoon (ed.), Approaches to Gramsci (London: Writers and Readers, 1982), 116–26.
See the forthcoming volume edited by D Welch and Roel vande Winkel, Cinema under the Swastika (Basingstoke: Palgrave, 2006).
S Deren, The Cradle of Modernity: Politics and Art in Weimar Republic (1918–1933) (unpublished MSc thesis Middle East Technical University, Ankara, 1997), 129–63;
T G Plummer (ed.), Film and Politics in the Weimar Republic (New York: Holmes and Meier, 1982).
See, for example, the case of Leni Riefenstahl’s Blaue Licht in T Elsaesser, Weimar cinema and after: Germany’s historical imaginary (London/New York: Routledge, 2000);
Witte K, ‘Revue als montierte Handlung. Versuch, die Filme zu beschreiben’, in Belach, Wir tanzen um die Welt. Deutsche Revuefilme 1933–45 (Munich: Hanser, 1979), 219 ff.
H-G Happel, Der historische Spielfilm im Nationalsozialismus (Frankfurt: Rita Fischer, 1984).
G Lange, Das Kino als moralische Anstalt. Soziale Leitbilder und die Darstellung gesellschaftlicher Realität im Spielftlm des Dritten Reiches (Frankfurt/New York: Peter Lang, 1994).
T J Saunders, Hollywood in Berlin. American Cinema and Weimar Germany (Berkeley: University of California Press, 1994);
R vande Winkel, ‘Nazi Newsreels in Europe, 1939–1945: the many faces of Ufa’s foreign weekly newsreel (Auslandstonwoche) versus German’s weekly newsreel (Deutsche Wochenschau)’, Historical Journal of Film, Radio and Television, 24 (1): 2004, 5–34;
K Kremeier, The Ufa Story. A History of Germany’s Greatest Film Company, 1918–1945 (London: University of California Press, 1999), 270 ff.
H Traub, ‘Zur Entwicklungsgeschichte der Ufa-Wochenschauen’, in 25 Jahre Ufa-Wochenschau (Berlin, 1939), 18–21;
F Hippler, Die Verstrickung. Einstellungen und Rückblenden von Fritz Hippler (Düsseldorf: Droste, 1982), 196.
J Eckhardt, ‘Abbild und Sinnbild. Von der Gestaltung der Wirklichkeit in Wochenschau und Kulturfilm’, in B Drewniak, Der deutsche Film 1938–1945. Ein Gesamtüberblick (Düsseldorf: Droste, 1987).
H Barkhausen, Filmpropaganda für Deutschland im Ersten und Zweiten Weltkrieg (Hildesheim/Zürich/New York: Olms Presse, 1982), 235–43.
H K Smith, Last Train From Berlin (New York: Alfred Knopf 1942), 157.
S Hornshøj-Moller and David Culbert, ‘“Der ewige Jude” (1940): Joseph Goebbels’ unequalled monument to anti-Semitism’, Historical Journal of Film, Radio and Television, 12 (1992), 41–68;
D Hollstein, Antisemitische Filmpropaganda (Munich/Berlin: Verlag Dokumentation, 1971), 21 ff and 108–117;
D S Hull, Film in the Third Reich: A Study of German Cinema, 1933–1945 (Berkeley: University of California Press, 1969), 157–77.
N Reeves, The Power of Film Propaganda: Myth or Reality? (New York: Cassell, 1999), 114–7.
S Hornshøj-Møller, Der ewige Jude. Quellenkritische Analyse eines antisemitischen Propagandafilms (Göttingen: Institut für Wissenschaftlichen Film, 1995).
H. Herma, ‘Goebbels’ conception of propaganda’, Social Research, 10 (1943), 200–18.
P Cadars, F Courtade, Histoire du Cinema nazi (Paris: E. Losfeld, 1972), 215 ff.
H-G Voigt, ‘ “Verräter vor dem Volksgericht”. Zur Geschichte eines Films’, in Bengt von zur Mühlen, A von Klewitz (ed.), Die Angeklagten des 20. Juli vor dem Volksgerichtshof (Berlin-Kleinmachnow: Chronos, 2001), 398 ff.
P Meers, ‘Is There an Audience in the House? — film audiences — Critical Essay’, Journal of Popular Film and Television, 29/3 (2001), 138–47.
S Tegel, ‘“The demonic effect”: Veit Harlan’s use of Jewish extras in Jud Süss’, Holocaust and Genocide Studies, 14 (2000), 215–41.
J Ellul, The Formation of Men’s Attitudes (New York: Alfred A. Knopf, 1965), 43 ff, 178 ff.
V Harlan, Im Schatten meiner Filme (Güterloh: Sigbert Mohn, 1966);
L Riefenstahl, Memoiren (Munich/Hamburg: Knaus, 1987).
H-J Eitner, Kolberg: Ein preußischer Mythos 1807/1945 (Berlin: Quintessenz-Verlag, 1999);
P Paret, ‘Kolberg (1945) as a historical film and historical document’, Historical Journal of Film, Radio and Television, 14 (1994): 433–48;
D Culbert, ‘Kolberg: Film, Filmscript and Kolobrzeg Today’, Historical Journal of Film, Radio and Television, 14 (1994), 449–66;
R Giesen, M Hobsch, Hitlerjunge Quex, Jud Süss und Kolberg: Die Propagandafilme des Dritten Reiches (Berlin: Schwarzkopf und Schwarzkopf Verlag, 2003).
K Riess, Das gab’s nur einmal — Die große Zeit des deutschen Films (Vienna: Molden Taschenbuch Verlag, 1977), 3, 205–6.
H Goedecke, W Krug, Wir beginnen das Wunschkonzert (Berlin/Leipzig: Nibelungen Verlag, 1940);
Bathrick D, ‘Making a National Family with the Radio: The Nazi Wunschkonzert’, Modernism/Modernity, 4 (1997): 115–27.
M M Semati and P J Sotirin. ‘Hollywood’s transnational appeal: hegemony and democratic potential?’ Journal of Popular Film and Television, 26 (1999), 176–88;
M Horkheimer, T Adorno, Dialectic of Enlightenment (New York: Herder and Herder, 1972), 121 ff;
T Adorno, ‘The Culture Industry reconsidered’ in The Culture Industry: Selected Essays on Mass Culture (New York: Routledge, 1991).
B Kleinhans, Ein Volk, ein Reich, ein Kino. Lichtspiel in der brauen Provinz (Cologne: PapyRossa Verlag, 2003), 14–5, 79.
P Schaper, Kinos in Lübeck. Die Geschichte der Lübecker Lichtspieltheater und ihrer unmittelbarer Vorläufer 1896 bis heute (Lübeck, 1987).
N von Keeken, Kinokultur in der Provinz. Am Beispiel von Bad Hersfeld (Frankfurt at al.: Lang, 1993);
J Spiker, Film und Kapital. Der Weg der deutschen Filmwirtschaft zum nationalsozialistischen Einheitskonzern (West Berlin: Spiess 1975), 196–7.
H Traub, Die Ufa. Ein Beitrag zur Entwicklungsgeschichte des deutschen Filmschaffens (Berlin: UFA-Buchverlag, 1943), 157 ff.
A J Sander, Jugend und Film (Berlin: NSDAP, 1944), 72 ff;
J C Fest, The Tace of the Third Reich (New York: Pantheon Books, 1970), 150 ff.
Copyright information
© 2005 Aristotle A. Kallis
About this chapter
Cite this chapter
Kallis, A.A. (2005). Cinema and Totalitarian Propaganda: ‘Information’ and ‘Leisure’ in NS Germany, 1939–45. In: Nazi Propaganda and the Second World War. Palgrave Macmillan, London. https://doi.org/10.1057/9780230511101_9
Download citation
DOI: https://doi.org/10.1057/9780230511101_9
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-0-230-54681-3
Online ISBN: 978-0-230-51110-1
eBook Packages: Palgrave History CollectionHistory (R0)