Was taten sie 1914-1918 und was 1939-1945? Was waren die Positionen und welche Stellungnahmen. Voici une liste de films ayant pour th. Une page de Gloire (L Nazism and cinema - Wikipedia. Nazism created an elaborate system of propaganda, which made use of the new technologies of the 2. Nazism courted the masses by the means of slogans that were aimed directly at the instincts and emotions of the people. The Nazis valued film as a propaganda instrument of enormous power. The interest that Adolf Hitler and his propaganda minister. Joseph Goebbels took in film was not only the result of a personal fascination. The use of film for propaganda had been planned by the National Socialist German Workers Party as early as 1. Background. Hitler had written about the psychological effect of images in Mein Kampf: One must also remember that of itself the multitude is mentally inert, that it remains attached to its old habits and that it is not naturally prone to read something which does not conform with its own pre- established beliefs when such writing does not contain what the multitude hopes to find there. The first NSDAP film office was established in 1. Achieving propagandistic influence has always demanded a . Nazism created an elaborate system of propaganda, which made use of the new technologies of the 20th century, including cinema. Nazism courted the masses by the means. Classic German videos from the last 60 years - German Classics from the last 60 years. Existential-psychologische Bildungs- und Begegnungsst Die Apostelgeschichte des Lukas (lateinisch Actus apostolorum oder Acta apostolorum It demands permanent alertness; it. Goebbels emphasized the will to end the . There are some examples of German feature films from the Third Reich that deal with the NSDAP or with party organizations such as the Sturmabteilung, Hitler Youth or the National Labour Service, one notable example being Hitlerjunge Quex about the Hitler Youth. Another example is the anti- semitic feature film Jew Suss. The propaganda films that refer directly to Nazi politics amounted to less than a sixth of the whole national film production, which mainly consisted of light entertainment films, although it is those propaganda films that are much more well known today, such as Triumph of the Will. For conceiving a Nazi film theory Goebbels suggested as formative material the Hamburg Dramaturgy and Laokoon, or the Limitations of Poetry by Gotthold Ephraim Lessing, and also demanded . A state- run professional school for politically reliable film- makers (Deutsche Filmakademie Babelsberg) was founded, and membership of an official professional organization (Reichsfilmkammer) was made mandatory for all actors, film- makers, distributors etc. The censorship that had already been established during World War I and the Weimar Republic was increased, with a National Film Dramaturgist (Reichsfilmdramaturg) pre- censoring all manuscripts and screenplays at the very first stages of production. Film criticism was prohibited and a national film award established. A film bank (Filmkreditbank Gmb. H) was established to provide low- interest loans for the production of politically welcome films, and such films also received tax benefits. Film production. There were multiple reasons for this crisis. Firstly, many of the most capable actors and film- makers had left the country after the rise to power of the Nazi government; others had been banned by the new Reichsfilmkammer. These people left a gap that the film industry could not easily fill. Secondly, the remaining actors and film- makers seized the opportunity to demand higher salaries, which considerably increased production budgets. Consequently, it became more and more difficult to recover production costs. Thirdly, the export of German films dramatically dropped due to international boycotts. In 1. 93. 3, exports had covered 4. More and more production companies went bankrupt. The number of companies dropped from 1. This did not necessarily lead to a decrease in the number of new films, as surviving production companies became more prolific, producing many more films. Nazi companies went on to produce co- productions with companies of other countries: 8 co- productions with the Kingdom of Italy, 6 co- productions with the French Third Republic, 5 co- productions with the Kingdom of Hungary, 5 co- productions with Czechoslovakia, 3 co- productions with Switzerland, 2 co- productions with the Second Polish Republic and the Empire of Japan (e. The Daughter of the Samurai), and one each with Francoist Spain, the United States,the Kingdom of Yugoslavia, and Sweden. On the one hand, an ailing and unprofitable film industry would not have been of much use for the propaganda requirements. And on the other hand, a small number of big film production companies were easier to control than a multitude of small ones. Goebbels went even further and directed a holding company . In 1. 93. 7, the Cautio acquired the largest German production company, Ufa, and in 1. With one stroke, the entire German film industry had been practically nationalized, but unlike the situation in the USSR, German film- making preserved its character as a private industry. Although Goebbels founded the Filmkreditbank Gmb. H in order to fund the industry, the funds came from private investors. Thus, there were no government subsidies to the film industry in Nazi Germany. Because of this, the industry was forced to remain profitable . Hitler Youth Quex (Hans Steinhoff)Reifende Jugend i. Maturing Youth (Carl Froelich)Fl. Refugees (Gustav Ucicky)1. Ich f. I for you, you for me (Carl Froelich)Der Schimmelreiter i. The Rider on the White Horse, based on the novella by Theodor Storm (Curt Oertel, Hans Deppe)Der verlorene Sohn i. The Prodigal Son (Luis Trenker)*Sto. Shock Troop 1. 91. Hans Z. Trouble with Jolanthe, based on a book by August Hinrichs (Carl Froelich)1. Hermine und die sieben Aufrechten i. Hermine and the Honorable Seven (Frank Wisbar)Liebesleute - Hermann und Dorothea von Heute i. A Pair of Lovers - Hermann and Dorothea of today (Erich Waschneck)Mazurka (Willi Forst)Artisten (Harry Piel)Liebe geht - wohin sie will i. Love goes - wherever it wants to (Kurt Skalden)*Der alte und der junge K. The old and the young King (Hans Steinhoff)*Das M. Lass Joan, a film about the French heroine Joan of Arc (Gustav Ucicky)Friesennot i. Frisians in Hardship (Willi Krause)Henker, Frauen und Soldaten i. Hangmen, Women and Soldiers, a film about two cousins, one fighting on the German side in the Freikorps, the other fighting on the bolshevist (proto- soviet) side (Johannes Meyer)*Liselotte von der Pfalz, about Elizabeth Charlotte, Princess Palatine (Carl Froelich)Papageno (Lotte Reiniger)*Der h. The Higher Command (Gerhard Lamprecht)1. Das Sch. The Beauty Spot (Rolf Hansen)*Traumulus i. The Dreamer (Carl Froelich)Drei M. Three Girls around Schubert, based on a novel by Rudolf Hans Bartsch (E. Emo)Stadt Anatol (Victor Tourjansky)St. Stronger than Paragraphs (J. When the cock crows (Carl Froelich)Schlu. Final Chord (Douglas Sirk)Savoy Hotel 2. Russian Empire (Gustav Ucicky)F. Ferryman Maria (Frank Wisbar)Gl. Lucky Kids (Paul Martin)9. Minuten Aufenthalt i. Minute- Stopver, a real time film about two friends, a German and a British criminal investigator who solve a case in Lisbon (Harry Piel)Der Dschungel ruft i. The Jungle Calls (Harry Piel)Der Bettelstudent i. The Beggar Student, based on the play by Carl Mill. The Kaiser of California (Luis Trenker)*Verr. Traitors (Karl Ritter)*Wenn wir alle Engel w. If We All Were Angels (Carl Froelich)1. Der Herrscher i. e. The Sovereign (Veit Harlan)*Patrioten i. Patriots (Karl Ritter)Mein Sohn, der Herr Minister i. My Son, the Government Minister, a comedy making fun of the parliamentary system (Veit Harlan)Der Mann, der Sherlock Holmes war i. The Man Who Was Sherlock Holmes(Karl Hartl)Gewitterflug zu Claudia i. Stormy flight to Claudia (Erich Waschneck)*Der zerbrochene Krug i. The Broken Jug, based on the play by Heinrich von Kleist (Gustav Ucicky)*Condottieri, about Cesare Borgia and Caterina Sforza (Luis Trenker, Werner Klingler)*Die Tochter des Samurai i. The Daughter of the Samurai (Arnold Fanck, Mansaku Itami)*Urlaub auf Ehrenwort (Karl Ritter)1. Revolutionshochzeit i. Revolution- Marriage (Hans Heinz Zerlett)*Heimat (Carl Froelich)Der Berg ruft i. The Mountain Calls, about the first ascent of the Matterhorn; based on a novel by Carl Haensel (Luis Trenker)Das Verlegenheitskind (Peter Paul Brauer)Der Fall Deruga i. The Deruga Case, based on a novel by Ricarda Huch (Fritz Peter Buch)Mit versiegelter Order (Karl Anton)Liebelei und Liebe i. Flirtation and Love (Arthur Maria Rabenalt)Napoleon ist an allem schuld i. It's all Napoleon's fault, about a man who studies Napoleon's biography and therefore neglects his wife (Curt Goetz)Geheimzeichen LB 1. Victor Tourjansky)Verwehte Spuren (Veit Harlan)Verklungene Melodie i. Faded Melody, (Victor Tourjansky)Tanz auf dem Vulkan (de) i. Dance on the Volcano, about Jean- Gaspard Deburau (Hans Steinhoff)*Der Katzensteg (Fritz Peter Buch)*Kautschuk i. Caoutchouc (Eduard von Borsody)Die Umwege des sch. The Roundabouts of Handsome Karl (Carl Froelich)*Pour le M. It was an Amazing Night at the Ball, a film about the Russian composer Pyotr Ilyich Tchaikovsky (Carl Froelich)Der Schritt vom Wege i. The False Step, based on the novel Effi Briest by Theodor Storm (Gustaf Gr. Flight Into Darkness (Arthur Maria Rabenalt)*Aufruhr in Damaskus i. Uproar in Damascus (Gustav Ucicky)Ein ganzer Kerl i. A Real Man (Fritz Peter Buch)Johannisfeuer i. Midsummer Night's Fire, based on the book by Hermann Sudermann, (Arthur Maria Rabenalt)Der Florentiner Hut i. The Florentine Hat, based on the play Un Chapeau de paille d'Italie by Eug. Liberated Hands (Hans Schweikart)M. Men have to be like this (Arthur Maria Rabenalt)Hotel Sacher (Erich Engel)Opernball i. Robert Koch, fighting death (Hans Steinhoff)*Mutterliebe i. Motherly Love (Gustav Ucicky)1. Der Postmeister i. The Postmaster (Gustav Ucicky)*Wunschkonzert i. Request Concert (Eduard von Borsody)Wiener G'schichten i. The Heart of the Queen, about Mary, Queen of Scots (Carl Froelich)*Friedrich Schiller . Enemies (Victor Tourjansky)*Jud S. I accuse (Wolfgang Liebeneiner)*Mein Leben f. My Life for Ireland (Max W. Kimmich)*Kampfgeschwader L. Goodbye, Franziska (Helmut K! Operetta, about Franz Jauner and the establishment of the Viennese Operetta (Willi Forst)Immer nur Du i. You, always (Karl Anton)Die schwedische Nachtigall i.
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