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Leiser, Erwin, 1923- . Nazi cinema / Erwin Leiser ; translated from the German by Gertrud Mander and David Wilson. series London : Secker & Warburg, 1974.
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Call#: Van Pelt Library PN1993.5.G3 L3813 1974
Leiser, Erwin. Nazi Cinema. London: Secker & Warburg, 1974.
“The Joseph Goebbels Programme”
This chapter explains the role of propaganda, specifically Joseph Goebbels' administration of it; Goebbels was minister of propaganda. Hitler defined the primary goal of propaganda as educating the masses on “the essence and function of the State” (Leiser 11). Hitler wanted film’s only purpose to be propaganda, but Goebbels disagreed, using subtler methods of propaganda. Goebbels was moved by film. He specifically admired Eisenstein's Battleship Potemkin. Goebbels made his films non-political so that audiences would not suspect political motives, but in reality every film was embedded with political propaganda. Goebbels preferred “people…to be manipulated without being shown the direction in which they were being led” (Leiser 12). This method of manipulation was thought to be more effective. He used different storylines to indirectly parallel it to the Nazi agenda. Goebbels was an ever-present force in film. He influenced basically every film made in Nazi Germany. His great influence was often resented by directors such as Viet Harlan. In general, Nazi films reaffirmed stereotypes and morals deemed important to the Nazis. These morals were enough for some “non-political” films to be passable by Goebbels as a form of propaganda since they were promoting a unified culture approved by the Nazi Party.
Goebbels recognized the effectiveness of film as a tool for propaganda and manipulation. He realized that film was necesary in keeping Germany unified culturally and politically. He was ultimately the man behind the whole propaganda campaign, meaning the he can be credited for all its successes as well as all its downfalls. This means that Goebbels can be blamed for the wasteful film productions at the end of the war. Kolberg is one of the feature films produced at the end of the war that did not have an overt political message and served no purpose because it could not inspire the German citizens to win the war when they were two months away from defeat. Ultimately, as minister of propaganda and being entrusted with so much power Goebbels becam too absorbed in film production and did not think rationally about the purpose of each film produced. The chapter describes how Goebbels had a fascination with film. Goebbels cites several films that "made an 'indelible impression' on him" (Leiser 10). This passion for film may have clouded Goebbels' jugement in the determination of the importance of film production at the end of the war; this film production conflicted with the war effort.
This chapter explains the role of propaganda, specifically Joseph Goebbels' administration of it; Goebbels was minister of propaganda. Hitler defined the primary goal of propaganda as educating the masses on “the essence and function of the State” (Leiser 11). Hitler wanted film’s only purpose to be propaganda, but Goebbels disagreed, using subtler methods of propaganda. Goebbels was moved by film. He specifically admired Eisenstein's Battleship Potemkin. Goebbels made his films non-political so that audiences would not suspect political motives, but in reality every film was embedded with political propaganda. Goebbels preferred “people…to be manipulated without being shown the direction in which they were being led” (Leiser 12). This method of manipulation was thought to be more effective. He used different storylines to indirectly parallel it to the Nazi agenda. Goebbels was an ever-present force in film. He influenced basically every film made in Nazi Germany. His great influence was often resented by directors such as Viet Harlan. In general, Nazi films reaffirmed stereotypes and morals deemed important to the Nazis. These morals were enough for some “non-political” films to be passable by Goebbels as a form of propaganda since they were promoting a unified culture approved by the Nazi Party.
Goebbels recognized the effectiveness of film as a tool for propaganda and manipulation. He realized that film was necesary in keeping Germany unified culturally and politically. He was ultimately the man behind the whole propaganda campaign, meaning the he can be credited for all its successes as well as all its downfalls. This means that Goebbels can be blamed for the wasteful film productions at the end of the war. Kolberg is one of the feature films produced at the end of the war that did not have an overt political message and served no purpose because it could not inspire the German citizens to win the war when they were two months away from defeat. Ultimately, as minister of propaganda and being entrusted with so much power Goebbels becam too absorbed in film production and did not think rationally about the purpose of each film produced. The chapter describes how Goebbels had a fascination with film. Goebbels cites several films that "made an 'indelible impression' on him" (Leiser 10). This passion for film may have clouded Goebbels' jugement in the determination of the importance of film production at the end of the war; this film production conflicted with the war effort.
belongs to Film as Propaganda, overvalued by the Nazis at times project
tagged adolph_hitler cine_101 film film_history germany joseph_goebbels nazi_cinema propaganda by lcuzz ...on 02-DEC-08
tagged adolph_hitler cine_101 film film_history germany joseph_goebbels nazi_cinema propaganda by lcuzz ...on 02-DEC-08
Did the Nazis overvalue film (specifically during the filming of Kolberg)?
The Nazis, embodied by minister of propaganda Joseph Goebbels, did overvalue film at times; specifically, this overvaluation of film is illustrated in the diversion of needed war resources to the film industry when Germany was approaching defeat, i.e. the production of Kolberg.
The Nazis (Goebbels) placed a great importance on propaganda because they wanted a unified Germany, and they needed to maintain an appearance of strength to maintain public support, which was necessary to maintain power. Film was the most important form of propaganda because of its great effectiveness due to its subtlety and ability to reach the masses. Because of this importance of film to the Nazi cause, Goebbels, the minister of propaganda, remained preoccupied with the production of propaganda films even when the war was being badly lost.
The best example of this is the production of the film Kolberg. During its production Germany was suffering many military losses and its economy was suffering. Despite the fact that Germany needed all the troops and resources it could get for the war, Goebbels diverted these troops and resources to this extravagant film with the hope that the film would inspire the support of the citizens, yet the film was released only a few months prior to German defeat. Overall, these misguided priorities of choosing investment in film versus directly into the war show that the Nazis overvalued film because they stubbornly stuck to the principles that got the Nazis in power, ignoring the dire situation with the war.
tagged adolph_hitler cine_101 film_history germany joseph_goebbels kolberg nazi nazi_cinema propaganda wwii
by lcuzz
...on 02-DEC-08