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Films influence on germany ww2
The impact of the Nazis on Germany
The impact of Nazism
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Rainer Werner Fassbinder was arguably one of the greatest German directors after World War II. During his fifteen-year career, Fassbinder directed and produced among his other film works 40 full-length films. Fassbinder was born in a small Bavarian town, Bad Wörishofen, on May 31, 1945, and died presumably of a drug overdose at the young age of 37 on June 10, 1982. He was the most prominent German film director, actor and screenwriter in the New German Cinema. He continued the tradition of great German movies, and dealt with the German Nazi past, the average person’s involvement in the dictatorship and the tendency to suppress the memory of those years after World War II.
The political reality and hard times in the 1920’s helped with the rise of the rightwing nationalist party. Adolf Hitler was an avid movie fan and embracing new technologies for his party, such as flying in an airplane to hold speeches in several cities on one day, realized the potential that existed for Nazi propaganda. His future propaganda minister, Josef Goebbels, a short man with a clubfoot, eventually would control the film industry. Goebbels removed all Jewish involvement with the film business, which led to many talented people having to leave Germany (as long as they still could get out). Equally, he removed all people were not in line with the official party thinking, so many more people, such as Fritz Lang, the director of Metropolis, left.
At the beginning of the Nazi era, more propaganda movies, such as “Triumph des Willens”(Triumph of the Will) from Leni Riefenstahl about the Nazi party congress 1934 in Nuremberg, in which she glorifies Hitler and the masses that paid homage to him, were made (“Leni Riefenstahl”). Nazi officials noticed that ov...
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...xy.clemson.edu/EBchecked/topic/202295/Rainer-Werner-Fassbinder>.
Rother, Rainer "Riefenstahl, Leni." Propaganda and Mass Persuasion: A Historical Encyclopedia, 1500 to the Present. Santa Barbara: ABC-CLIO, 2003. Credo Reference. Web. 16 February 2014.
Smith, Duncan "Rainer Werner Fassbinder 1945-1982." Encyclopedia of German Literature. London: Routledge, 2000. Credo Reference. Web. 14 February 2014.
The Marriage of Maria Braun. [Die Ehe der Maria Braun]. Dir. Rainer Werner Fassbinder. Perf. Hanna Schygulla, Klaus Löwitsch, Ivan Desny. Trio Films, 1979. DVD.
Thompson, Kristin , and David Bordwell. Film History, An Introduction. New York: McGraw-Hill Humanities/Social Sciences/Languages, 2010. 8. Print.
Veronika Voss. [Die Sehnsucht der Veronika Voss]. Dir. Rainer Werner Fassbinder. Perf. Rosel Zech, Hilmar Thate, Cornelia Froboess. Laura Film/Tango Film, 1982. DVD.
Brubaker. Dir. Stuart Rosenberg. Perf. Robert Redford, Yaphet Kotto, Jane Alexander ,Murray Hamilton, David Keith, Morgan Freeman. Twentieth Century Fox, 1980. Film.
German cinema was greatly affected during the Nazi movement between 1933 and 1945. Once appointed Chancellor of Germany on January 30, 1933 Hitler wasted no time and almost immediately began working on his propaganda strategy. Typically “propaganda targets a mass audience and relies on mass media to persuade. Propaganda is aimed at large numbers of people and, as such, relies on mass communication to reach its audience” (Gass, 14). The Nazi party used film propaganda to brainwash the German people, distract them from the harsh reality of the Nazi party, and attempt to intimidate the enemy. Hitler knew propaganda entailed mass persuasion and he knew just how to get his message out there; film. It was through the use of propaganda, largely film that made the Nazi party so powerful as they redefined propaganda.
Propaganda in the broadest sense is the technique of influencing human action by the manipulation of representations. These representations may take the spoken, written, pictorial, or musical form. Since the cinema uses all four of these types of representations, a filmmaker would seem to wield a lot of power as a propagandist. If he so chooses to use his power to its fullest potential. The essential distinction lies in the intentions of the propagandist to persuade an audience to adopt the attitude or action he or she espouses. This is ever so prevalent as Hitler gained support from his nation to exterminate the Jewish people from Germany and Europe alike. He adopted such support by using his Nazi propaganda films as a weapon of mass distraction and manipulation of the people of Germany. If he had not idealized the German soldier as a hero, and bestowed nationalism in his people, and blamed the economic problems of German on the Jewish race then he never would have been able to accomplish what he had in such a short amount of time. The most famous Nazi propaganda film is Der ewige Jude (“The Eternal Jew”).
Revolutionary forms of art have dominated much of Germany, apparently as a reaction to the First World War. The era in which the First World War took place – throughout the 1910s, featured artists coming together against what they think the pointless aggression said major conflict brought. German artists, in particular, protested against the social structures prevalent during the 1910s, within which the social structures of the Second Reich were prevalent. German society initially saw film, in particular, as quite an inelegant alternative to the bourgeoisie-associated theater. Such is due to the inability of the domestic film industry in Germany to develop films due to two reasons – the mass importation of foreign films from other nations with more advanced film industries and the consequent notion that films are associated with the lower classes (Kellner 3-39). Such impressions, however, changed with the rise of German expressionist film, with the seminal example being The Cabinet of Doctor Caligari by Robert Wiene.
The movie “Schindler’s list” is a compelling, real-life depiction of the events that occurred during the 1940’s. It illustrates the persecution and horrific killings of the Jewish people. It also exemplifies the hope and will of the Jewish people, which undoubtedly is a factor in the survival of their race. The most important factor however is because of the willingness of one man, Oskar Schindler, to stand out and make a difference.
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
Griffin explores Heinrich Himmler and the secrets that are hidden within him. Throughout his childhood Himmler’s secrets and thoughts were hidden, overshadowed by a mask or barrier formed by his upbringing and culture.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
Before the Second World War began Hollywood’s purpose lied within entertainment for the American people. After the war started, the main focus shifted to wartime propaganda. Film was used to display the war in a way that did not show its true colors—including the censorship of soldier causalities and other negative connotations that are a simple fact of war. There was even a time in which some actors became better known to America than politians. Through films, Hollywood began to make a statement of their anti-Nazi beliefs. They began to make motion pictures for American recruitment into the Army as well as many that supported the war effort, and intended to make other Americans more aware of the war’s effect on the United States, and how people can get involved. Many European countries banned these Hollywood films, as they began to affect not only America but many other countries that were involved in the war as well.
Propaganda played a huge role and affected many people’s thinking during this time period. The propaganda was designed to influence the targeted people’s opinions, beliefs, and emotions. Joseph Paul Goebbel’s was the German national socialist propagandist. He had complete control over radio, press, cinema, and theater. What the propagandist preached may have been either true or false. They did whatever it took to sway the people to believe their ideas. They wanted people to think that their way was right.
...his appeal would help the Nazis acquire popularity in the late 1920's, when the Great Depression caused widespread unemployment and poverty.
In 1934 people were crazy and there was a great enthusiasm for Hitler. We had to try and find that with our camera. Helene Amatie Bertha Riefenstahl was born in Berlin on the 22nd August 1902. Born to Alf Leni Riefenstahl was born on 22 August 1902. She was the eldest of two children and grew up in Wedding, one of the working-class industrial suburbs on the edges of Berlin before moving to Berlin-Neukollen. Riefenstahl’s father Alfred Theodor Paul Reifenstahl was a plumber and small businessman. He was a hard and demanding figure. Leni’s mother was Bertha Ida Scherlach Riefenstahl. Leni Riefenstahl was an expressionist dancer during the Expressionist movement, a major actress and filmmaker during the growth of German cinema and a Nazi associate during the years of Nazi Germany. Leni was seen as an opportunist. The statement ‘Significant Individuals reflect the needs of their time’ applies significantly to Riefenstahl. In regarding the statement Leni had to overcome certain obstacles to achieve what she desired. The film
Das Leben der Anderen (The Lives of Others) 2006, DVD, Buena Vista Pictures, Burbank, California, United States of America. Written and directed by Florian Henckel von Donnersmarck
Where Schlondorff, Wenders, Herzog, Fassbinder and Kluge once investigated the extremities of the German character and the Americana that infested West German culture through the New German Cinema of the late 60s, 70s and early 80s, the Germany of today has through its cinema acknowledged past hardships but with a more positive emphasis placed on the possibilities of forgiveness, redemption and hope for what can be made of tomorrow. Bibliography A Reversal of Fortunes? Women, work and change in East Germany. Rachel Alsop.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..