By Susan Tegel
Earlier than the increase of tv, the cinema used to be a key medium of leisure and data. The Nazi regime, which inherited the biggest movie outdoor Hollywood, realised this, with the most memorable photographs of Hitler and his occasion coming from Leni Riefenstahls movie Triumph of the desire. Susan Tegel has written a entire account of the movies made in Nazi Germany from 1933 to 1945, together with the infamous function movie, Jud Süss, and the compilation documentary Der Ewige Jude. She explores intimately how the movie makers have been managed and utilized by the regime and examines different much less recognized movies that includes Jewish characters and the way their snapshot differed from movie to movie. She additionally seems on the itself, its reorganization, investment, the interventions of the Propaganda Ministry headed by way of Goebbels, the compromises which individuals needed to make, the careerism and the risks which a few confronted both of unemployment or worse.
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So too the exiled Berlin Neo-Freudian psychoanalyst Erich Fromm in Fear of Freedom (American title,E,capefrom Freedom) (1941). Kracauer has been criticized for an over-deterministic thesis that the rise of Hitler was inevitable, given the German psychology and predilection for authoritarianism. That tendency, he argued, was already apparent in the early expressionist film, The Cabinet of Dr Caligari, hence the book's title. 2o Psychoanalysis was in the air, and though Kracauer never mentioned Freud,2l he probably took his Freudian categories from Fromm.
20 Despite the decline in Germany's military fortunes, its cinema flourished. " By the time the war ended, German cinema was on a firm financial footing. As a direct consequence of the war, and with help from the military, its film industry emerged strengthened. ' It also severely damaged the economy and destroyed the old political order. Germany's film industry, however, expanded during the war. After 1918 it indeed overtook the industries of the victorious nations, France. Italy and Britain, to become the dominant industry in interwar Europe, second only to Hollywood, though in the immediate post -war period it had to contend with the reluctance of the victorious nations to screen German films, which they considered an invasion in commercial form.
L5 A ban on films produced in enemy countries was introduced and not lifted NAZIS AND THE CINEMA until 31 December 1920. Initially films from France, Britain and Russia were affected, later Italy (in 1915) and the USA (1917). Aside from Russia, these countries had had a sizeable share of the German market. The ban proved a boon to German film production. Actors, directors and writers from the world of theatre overcame their disdain. Their belated contribution resulted in two film classics, Der Go/em (1915) and Homunculus (1916), forerunners of the Expressionist films of the Weimar period.