Hitler In The Movies Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Hitler In The Movies book. This book definitely worth reading, it is an incredibly well-written.
Hitler in the Movies by Sidney Homan,Hernán Vera Pdf
In Hitler in the Movies: Finding Der Führer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him … Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain’s The Great Dictator or Ernst Lubitsch’s To Be or Not to Be (1942), along with the Mel Brooks’s 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler’s Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins’s The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl’s iconic The Triumph of the Will or The Hidden Führer, to the controversial Hitler: A Film from Germany and Quentin Tarantino’s fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Führer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?
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.
Hitler - Films from Germany by K. Machtans,M. Ruehl Pdf
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.
Hollywood and Hitler, 1933-1939 by Thomas Doherty Pdf
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).
Hitler and Film by Bill Niven,William John Niven Pdf
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.
HE'S BACK AND HE'S FUHRIOUS! "Desperately funny . . . An ingenious comedy of errors." --Janet Maslin, The New York Times "Satire at its best." --Newsweek "Thrillingly transgressive." --The Guardian A NEW YORK TIMES SUMMER READING PICK In this record-breaking bestseller, Timur Vermes imagines what would happen if Adolf Hilter reawakened in present-day Germany: YouTube stardom. Adolf Hitler wakes up on a patch of open ground, alive and well. It's the summer of 2011 and things have changed--no Eva Braun, no Nazi party, no war. Hitler barely recognizes his beloved Fatherland, filled with immigrants and run by a woman. People certainly recognize him--as a flawless impersonator who refuses to break character. The unthinkable happens, and the ranting Hitler goes viral, becomes a YouTube star, gets his own TV show, and people begin to listen. But the Fuhrer has another program with even greater ambition in mind--to set the country he finds in shambles back to rights. With daring humor, Look Who's Back is a perceptive study of the cult of personality and of how individuals rise to fame and power in spite of what they preach.
Hitler and the Nazi Cult of Film and Fame by Michael Munn Pdf
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.
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
The bestselling memoir of a Jewish pianist who survived the war in Warsaw against all odds. 'We are drawn in to share his surprise and then disbelief at the horrifying progress of events, all conveyed with an understated intimacy and dailiness that render them painfully close... riveting' OBSERVER On September 23, 1939, Wladyslaw Szpilman played Chopin's Nocturne in C-sharp minor live on the radio as shells exploded outside - so loudly that he couldn't hear his piano. It was the last live music broadcast from Warsaw: That day, a German bomb hit the station, and Polish Radio went off the air. Though he lost his entire family, Szpilman survived in hiding. In the end, his life was saved by a German officer who heard him play the same Chopin Nocturne on a piano found among the rubble. Written immediately after the war and suppressed for decades, THE PIANIST is a stunning testament to human endurance and the redemptive power of fellow feeling. 'The images drawn are unusually sharp and clear... but its moral tone is even more striking: Szpilman refuses to make a hero or a demon out of anyone' LITERARY REVIEW
Hitler and the Nazi Cult of Film and Fame by Michael Munn Pdf
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.
To continue doing business in Germany after Hitler's ascent to power, Hollywood studios agreed not to make films that attacked the Nazis or condemned Germany's persecution of Jews. Ben Urwand reveals this bargain for the first time—a "collaboration" (Zusammenarbeit) that drew in a cast of characters ranging from notorious German political leaders such as Goebbels to Hollywood icons such as Louis B. Mayer. At the center of Urwand's story is Hitler himself, who was obsessed with movies and recognized their power to shape public opinion. In December 1930, his Party rioted against the Berlin screening of All Quiet on the Western Front, which led to a chain of unfortunate events and decisions. Fearful of losing access to the German market, all of the Hollywood studios started making concessions to the German government, and when Hitler came to power in January 1933, the studios—many of which were headed by Jews—began dealing with his representatives directly. Urwand shows that the arrangement remained in place through the 1930s, as Hollywood studios met regularly with the German consul in Los Angeles and changed or canceled movies according to his wishes. Paramount and Fox invested profits made from the German market in German newsreels, while MGM financed the production of German armaments. Painstakingly marshaling previously unexamined archival evidence, The Collaboration raises the curtain on a hidden episode in Hollywood—and American—history.
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.
In this succinct, fact-based, insightful analysis of Hitler and his impact on the world, Sebastian Haffner displays his skills as a first-class journalist and a student of German and modern European history. A keen psychologist, he describes the man, the politician, the ideologue, the military leader, the mass-murderer, and ultimately the traitor to his own (adopted) country. “Mr Haffner ... has exposed better, and more briefly, than anyone else the clockwork of that infernal machine” — Gordon Brook-Shepherd, Sunday Telegraph “Lucid, informative and provocative.” — Golo Mann, Der Spiegel “Nothing I have read on the Third Reich has been as valuable as Sebastian Haffner’s Meaning of Hitler” — Manfred Rommel, Stuttgarter Nachrichten “a stimulating book, brilliant and rich in ideas; in short a masterpiece of historical essay writing.” — Joachim Fest, Frankfurter Allgemeine Zeitung “This study ... deserves the highest praise. There is nothing of this brevity and depth to inform the younger generation and give those who lived through the era food for thought.” — Peter Diehl-Thiele, Süddeutsche Zeitung “He circumnavigates the Hitler phenomenon in order to illuminate it from seven different viewpoints, and that in under 200 lucid and precise pages without assuming any prior knowledge.” — Peter Graf Kielmansegg, Münchner Merkur “not one more biography but an analysis - a most penetrating analysis - of what Hitler was up to in his astonishing career” — A.L. Rowse “Sebastian Haffner’s book already has received recognition ... as perhaps the best that has dealt with the phenomenon of Hitler and his impact on the 20th century. It is better than Trevor-Roper’s best-seller, The Last Days of Hitler ... a most penetrating analysis of what Hitler was up to in his astonishing career.” — The New Republic “Tough-minded evaluation of Hitler’s career ... That this book was a best-seller in Germany [43 weeks] indicates that Haffner’s countrymen welcomed this compact, lucid, hard-headed reexamination of contemporary history.” — Publishers Weekly “Until [1991], as Sebastian Haffner wrote in his short, matchless book The Meaning of Hitler (1978), we had been living in the Europe which Hitler created for us: the split continent and the mutilated, divided Germany.” — Neal Ascherson, The Observer
Author : Dennis E. Showalter Publisher : Random House Page : 377 pages File Size : 45,9 Mb Release : 2013-08-27 Category : History ISBN : 9780812994650
Armor and Blood: The Battle of Kursk by Dennis E. Showalter Pdf
One of America’s most distinguished military historians offers the definitive account of the greatest tank battle of World War II—an epic clash of machines and men that matched the indomitable will of the Soviet Red Army against the awesome might of the Nazi Wehrmacht. While the Battle of Kursk has long captivated World War II aficionados, it has been unjustly overlooked by historians. Drawing on the masses of new information made available by the opening of the Russian military archives, Dennis Showalter at last corrects that error. This battle was the critical turning point on World War II’s Eastern Front. In the aftermath of the Red Army’s brutal repulse of the Germans at Stalingrad, the stakes could not have been higher. More than three million men and eight thousand tanks met in the heart of the Soviet Union, some four hundred miles south of Moscow, in an encounter that both sides knew would reshape the war. The adversaries were at the peak of their respective powers. On both sides, the generals and the dictators they served were in agreement on where, why, and how to fight. The result was a furious death grapple between two of history’s most formidable fighting forces—a battle that might possibly have been the greatest of all time. In Armor and Blood, Showalter re-creates every aspect of this dramatic struggle. He offers expert perspective on strategy and tactics at the highest levels, from the halls of power in Moscow and Berlin to the battlefield command posts on both sides. But it is the author’s exploration of the human dimension of armored combat that truly distinguishes this book. In the classic tradition of John Keegan’s The Face of Battle, Showalter’s narrative crackles with insight into the unique dynamics of tank warfare—its effect on men’s minds as well as their bodies. Scrupulously researched, exhaustively documented, and vividly illustrated, this book is a chilling testament to man’s ability to build and to destroy. When the dust settled, the field at Kursk was nothing more than a wasteland of steel carcasses, dead soldiers, and smoking debris. The Soviet victory ended German hopes of restoring their position on the Eastern Front, and put the Red Army on the road to Berlin. Armor and Blood presents readers with what will likely be the authoritative study of Kursk for decades to come. Advance praise for Armor and Blood “The size and the brutality of the vast tank battle at Kursk appalls, this struggle that gives an especially dark meaning to that shopworn phrase ‘last full measure.’ Prepare yourself for a wild and feverish ride over the steppes of Russia. You can have no better guide than Dennis E. Showalter, who speaks with an authority equaled by few military historians.”—Robert Cowley, founding editor of MHQ: The Quarterly Journal of Military History “A fresh, skillful, and complete synthesis of recent revelations about this famous battle . . . As a myth buster, Armor and Blood is a must-read for those interested in general and military history.”—David M. Glantz, editor of The Journal of Slavic Military Studies “Refreshingly crisp, pointed prose . . . Throughout, [Showalter] demonstrates his adeptness at interweaving discussions of big-picture strategy with interesting revelations and anecdotes. . . . Showalter does his best work by keeping his sights set firmly on the battle at hand, while also parsing the conflict for developments that would have far-reaching consequences for the war.”—Publishers Weekly
Examines changing attitudes among Germans as evident in films of the modern German era, leading away from guilt and atonement and seeking national identity.
