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This book exposes the myths surrounding the propaganda films produced during the Third Reich. One, that the Nazis were infallible masters in the use of film propaganda. Two, that everything the Nazis said was a lie. Three, that only the Riefenstahl documentaries are significant to the modern viewer. It reveals the truth, lies, successes and failures of key films designed to arouse hostility against the Nazis’ enemies, including Ohm Krüger - the most anti-British film ever produced; their 1943 anti-capitalist version of Titanic; anti-English films about Ireland and Scotland; and anti-American films like The Emperor of California and The Prodigal Son. Including an objective analysis of all the key films produced by the Nazi regime and a wealth of film stills, Ian C. Garden takes the reader on a journey through the Nazi propaganda machine. In today’s turbulent world the book serves as a poignant reminder of the levels to which powerful regimes will stoop to achieve power and control.
This book exposes the myths surrounding the propaganda films produced during the Third Reich. One, that the Nazis were infallible masters in the use of film propaganda. Two, that everything the Nazis said was a lie. Three, that only the Riefenstahl documentaries are significant to the modern viewer. It reveals the truth, lies, successes and failures of key films designed to arouse hostility against the Nazis’ enemies, including Ohm Krüger - the most anti-British film ever produced; their 1943 anti-capitalist version of Titanic; anti-English films about Ireland and Scotland; and anti-American films like The Emperor of California and The Prodigal Son. Including an objective analysis of all the key films produced by the Nazi regime and a wealth of film stills, Ian C. Garden takes the reader on a journey through the Nazi propaganda machine. In today’s turbulent world the book serves as a poignant reminder of the levels to which powerful regimes will stoop to achieve power and control.
During the 1930s many Americans avoided thinking about war erupting in Europe, believing it of little relevance to their own lives. Yet, the Warner Bros. film studio embarked on a virtual crusade to alert Americans to the growing menace of Nazism. Polish-Jewish immigrants Harry and Jack Warner risked both reputation and fortune to inform the American public of the insidious threat Hitler's regime posed throughout the world. Through a score of films produced during the 1930s and early 1940s-including the pivotal Sergeant York-the Warner Bros. studio marshaled its forces to influence the American conscience and push toward intervention in World War II. Celluloid Soldiers offers a compelling historical look at Warner Bros.'s efforts as the only major studio to promote anti-Nazi activity before the outbreak of the Second World War.
The Hitler Years: Disaster, 1940-1945 by Frank McDonough Pdf
The Second Volume of a new chronicle of the Third Reich under Hitler's hand, ending with his death and Germany's disastrous defeat. In The Hitler Years: Disaster 1940-1945, Frank McDonough completes his brilliant two-volume history of Germany under Hitler’s Third Reich. At the beginning of 1940, Germany was at the pinnacle of its power. By May 1945, Hitler was dead and Germany had suffered a disastrous defeat. Hitler had failed to achieve his aim of making Germany a super power and had left her people to cope with the endless shame of the Holocaust. Despite Hitler's grand ambitions and the successful early stages of the Third Reich's advances into Europe, Frank McDonough convincingly argues that Germany was only ever a middle-ranking power and never truly stood a chance against the combined forces of the Allies. In this second volume of The Hitler Years, Professor Frank McDonough charts the dramatic change of fortune for the Third Reich and Germany's ultimate defeat.
Popular Culture as Art and Knowledge by George A. Gonzalez Pdf
This volume settles the debate between analytic and continental philosophy. It turns to art, more specifically popular culture, to demonstrate the validity of continental philosophy. Drawing on the philosophy of Georg Hegel (perhaps the most important of continental philosophers), James Kreines holds that reason in the world metaphysically exists. Reasons of the world are reasons of the Hegelian Absolute. Thus, similar to the fact that gravity is curves in the space-time continuum along which matter moves – reasons are the grooves in the Absolute along which human decision-making occurs. Art allows us to conceptualize, understand, speculate about the grooves (reasons) of the Absolute. Two key points can be drawn from Kreines’s position: first, normative values are embedded in reality. Thus, in complete contradistinction to analytic philosophy, there is no bifurcation between the empirical and the normative – to exist is to have normative value. Secondly, the role of social science is to cogitate, explore, identify the reasons of the world that shape social, political norms. Such an approach would decisively move the social sciences away from an emphasis on statistically significant patterns of human behavior (e.g., voting studies) and toward an approach that seeks to analyze the reasons of the world that motivate/shape social and political decisions. Art (particularly popular culture) becomes an important source in identifying the way that people reason about the world and how they perceive political elites reasoning in the world. To adjudicate between continental and analytic philosophy this book on relies on the broadcast iterations of Star Trek, as well as Nazi cinema. With regard to contemporary American politics, in addition to Star Trek, it draws on the television series Game of Thrones, Veep, House of Cards, and The Man in the High Castle. Popular culture is germane to philosophy and contemporary politics because television/movie creators frequently try to attract viewers by conveying authentic philosophical and political motifs. Conversely, viewers seek out authentic movies and television shows. This is in contrast to opinion surveys (for instance), as the formation of the data begins with the surveyor seeking to directly solicit an opinion – however impromptu or shallow.
“Masterful. . . . Evans demonstrates a fluent style and a sweeping grasp of the Third Reich’s history and of the enormous historical literature. . . . Evans’s fellow historians as well as a broader public will read this work, not quite with pleasure, for there is little joy in this story, but with admiration for the author’s narrative powers.” ―Publisher’s Weekly (starred review) A New York Times bestseller! An absorbing, revelatory, and definitive account of one of the greatest tragedies in human history Adroitly blending narrative, description, and analysis, Richard J. Evans portrays a society rushing headlong to self-destruction and taking much of Europe with it. Interweaving a broad narrative of the war's progress from a wide range of people, Evans reveals the dynamics of a society plunged into war at every level. The great battles and events of the conflict are here, but just as telling is Evans's re- creation of the daily experience of ordinary Germans in wartime. At the center of the book is the Nazi extermination of the Jews. The final book in Richard J. Evan's three-volume history of Hitler's Germany, hailed "a masterpiece" by The New York Times, The Third Reich at War lays bare the most momentous and tragic years of the Nazi regime.
Author : Richard A. Etlin Publisher : University of Chicago Press Page : 406 pages File Size : 51,5 Mb Release : 2002-10-15 Category : Art ISBN : 9780226220871
Art, Culture, and Media Under the Third Reich by Richard A. Etlin Pdf
Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups. Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literature; the reception of art and culture abroad; the treatment of exiled artists; and issues of territory, conquest, and appeasement. Familiar subjects such as the Munich Accord, Nuremberg Party Rally Grounds, and Lebensraum (Living Space) are considered from a new perspective. Anyone studying the history of Nazi Germany or the role of the arts in nationalist projects will benefit from this book. Contributors: Ruth Ben-Ghiat David Culbert Albrecht Dümling Richard A. Etlin Karen A. Fiss Keith Holz Kathleen James-Chakraborty Paul B. Jaskot Karen Koehler Mary-Elizabeth O'Brien Jonathan Petropoulos Robert Jan van Pelt Joachim Wolschke-Bulmahn and Gert Gröning
This book is a stimulating and entirely plausible insight into how Hitler and his generals might have defeated the Allies, and a convincing sideways look at the Third Reich's bid at world domination in World War II. What would have happened if, for example, the Germans captured the whole of the BEF at Dunkirk? Or if the RAF had been defeated in the Battle of Britain? What if the U-Boats had strangled Britain with an impregnable blockade, if Rommel had been triumphant in North Africa or the Germans had beaten the Red Army at Kursk? The authors, writing as if these and other world-changing events had really happened, project realistic scenarios based on the true capabilities and circumstances of the opposing forces. Third Reich Victorious is a spirited and terrifying alternate history, and a telling insight into the dramatic possibilities of World War II.
‘Think of the press as a great keyboard on which the government can play.’ – Joseph Goebbels, Reich Minister of Public Enlightenment and PropagandaDunkirk, Stalingrad, the Dieppe Raid: there were many bloody and gruesome conflicts fought during the Second World War, yet there was one vital and aggressive battle in which no blood was directly shed – that of the warring nations’ battle with the truth.In Battling With the Truth (a follow-up to The Third Reich’s Celluloid War) Ian Garden offers fascinating insights into the ways by which both the Axis and Allies manipulated military and political facts for their own ends. By analysing key incidents and contemporary sources from both British and German perspectives, he reveals how essential information was concealed from the public.Asking how both sides could have believed they were fighting a just war, Garden exposes the extent to which their peoples were told downright lies or fed very carefully worded versions of the truth. Often these ‘versions’ gave completely false impressions of the success or failure of missions – even whole campaigns.Ultimately, Battling With the Truth demonstrates that almost nothing about war is as clear-cut as the reporting at the time makes out. From the past, we can learn valuable lessons about the continuing potential for media manipulation and political misinformation – especially during wartime.
'Think of the press as a great keyboard on which the government can play.' – Joseph Goebbels, Reich Minister of Public Enlightenment and Propaganda Dunkirk, Stalingrad, the Dieppe Raid: there were many bloody and gruesome conflicts fought during the Second World War, yet there was one vital and aggressive battle in which no blood was directly shed – that of the warring nations' battle with the truth. In Battling With the Truth (a follow-up to The Third Reich's Celluloid War) Ian Garden offers fascinating insights into the ways by which both the Axis and Allies manipulated military and political facts for their own ends. By analysing key incidents and contemporary sources from both British and German perspectives, he reveals how essential information was concealed from the public. Asking how both sides could have believed they were fighting a just war, Garden exposes the extent to which their peoples were told downright lies or fed very carefully worded versions of the truth. Often these 'versions' gave completely false impressions of the success or failure of missions – even whole campaigns. Ultimately, Battling With the Truth demonstrates that almost nothing about war is as clear-cut as the reporting at the time makes out. From the past, we can learn valuable lessons about the continuing potential for media manipulation and political misinformation – especially during wartime.
Museums and Photography by Elena Stylianou,Theopisti Stylianou-Lambert Pdf
Museums and Photography combines a strong theoretical approach with international case studies to investigate the display of death in various types of museums—history, anthropology, art, ethnographic, and science museums – and to understand the changing role of photography in museums. Contributors explore the politics and poetics of displaying death, and more specifically, the role of photography in representing and interpreting this difficult topic. Working with nearly 20 researchers from different cultural backgrounds and disciplines, the editors critically engage the recent debate on the changing role of museums, exhibition meaning-making, and the nature of photography. They offer new ways for understanding representational practices in relation to contemporary visual culture. This book will appeal to researchers and museum professionals, inspiring new thinking about death and the role of photography in making sense of it.
Germany in the early 1930s is falling apart. The population is disillusioned, poverty is spreading, and unemployment is everywhere. Many Germans see Adolf Hitler as the only man who can pull the country out of crisis. The Nazi leader’s promise of bread and work for the people makes him popular, and his demands for revenge for the humiliating peace terms after World War I find a sympathetic audience. Soon after the Nazis first seize power, Hitler begins an unprecedented transformation of society: the unemployed are sent to build roads, young folk are forced into the Hitler Youth and women are rewarded for giving birth to many purebred children. The young German democracy that brought the Nazi party to the fore will be swept aside. Hitler establishes himself as dictator and commander of the German army, which quickly steps up to become a modern war machine. World History invites you on a fascinating journey to bygone eras, allowing you to explore the greatest events in history. Take a trip back in time - to the frontlines of World War 2, to the Viking raids, and the religious rituals of ancient Egypt. World History is for everyone who would like to know more about the exciting and dramatic events of the past.
The final volume in Richard J. Evans's masterly trilogy on the history of Nazi Germany traces the rise and fall of German military might, the mobilization of a ?people's community? to serve a war of conquest, and Hitler's campaign of racial subjugation and genocide Already hailed as ?a masterpiece? (William Grimes in The New York Times) and ?the most comprehensive history? of the Third Reich? (Ian Kershaw), this epic trilogy reaches its terrifying climax in this volume. Evans interweaves a broad narrative of the war's progress with viscerally affecting personal testimony from a wide range of people'from generals to front-line soldiers, from Hitler Youth activists to middle-class housewives. The Third Reich at War lays bare the dynamics of a nation more deeply immersed in war than any society before or since. Fresh insights into the conflict's great events are here, from the invasion of Poland to the Battle of Stalingrad to Hitler's suicide in the bunker. But just as important is the re-creation of the daily experience of ordinary Germans in wartime, staggering under pressure from Allied bombing and their own government's mounting demands upon them. At the center of the book is the Nazi extermination of Europe's Jews, set in the context of Hitler's genocidal plans for the racial restructuring of Europe. Blending narrative, description and analysis, The Third Reich at War creates an engrossing picture'at once sweeping and precise'of a society rushing headlong to self-destruction and taking much of Europe with it. It is the culmination of a historical masterwork that will remain the most authoritative work on Nazi Germany for years to come.
As the Cold War followed on the heels of the Second World War, as the Nuremburg Trials faded in the shadow of the Iron Curtain, both the Germans and the West were quick to accept the idea that Hitler's army had been no SS, no Gestapo, that it was a professional force little touched by Nazi politics. But in this compelling account Omer Bartov reveals a very different history, as he probes the experience of the average soldier to show just how thoroughly Nazi ideology permeated the army. In Hitler's Army, Bartov focuses on the titanic struggle between Germany and the Soviet Union--where the vast majority of German troops fought--to show how the savagery of war reshaped the army in Hitler's image. Both brutalized and brutalizing, these soldiers needed to see their bitter sacrifices as noble patriotism and to justify their own atrocities by seeing their victims as subhuman. In the unprecedented ferocity and catastrophic losses of the Eastrn front, he writes, soldiers embraced the idea that the war was a defense of civilization against Jewish/Bolshevik barbarism, a war of racial survival to be waged at all costs. Bartov describes the incredible scale and destruction of the invasion of Russia in horrific detail. Even in the first months--often depicted as a time of easy victories--undermanned and ill-equipped German units were stretched to the breaking point by vast distances and bitter Soviet resistance. Facing scarce supplies and enormous casualties, the average soldier sank to ta a primitive level of existence, re-experiencing the trench warfare of World War I under the most extreme weather conditions imaginable; the fighting itself was savage, and massacres of prisoners were common. Troops looted food and supplies from civilians with wild abandon; they mercilessly wiped out villages suspected of aiding partisans. Incredible losses led to recruits being thrown together in units that once had been filled with men from the same communities, making Nazi ideology even more important as a binding force. And they were further brutalized by a military justice system that executed almost 15,000 German soldiers during the war. Bartov goes on to explore letters, diaries, military reports, and other sources, showing how widespread Hitler's views became among common fighting men--men who grew up, he reminds us, under the Nazi regime. In the end, they truly became Hitler's army. In six years of warfare, the vast majority of German men passed through the Wehrmacht and almost every family had a relative who fought in the East. Bartov's powerful new account of how deeply Nazi ideology penetrated the army sheds new light on how deeply it penetrated the nation. Hitler's Army makes an important correction not merely to the historical record but to how we see the world today.