The Third Reich S Celluloid War

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 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.

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.

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

Re-examines German cinema's representation of the Germans as victims during the Second World War and its aftermath.