By Karl-Heinz Schoeps
This publication is the 1st survey in English of literature and picture in Nazi Germany. It treats not just works sympathetic to nationwide Socialism, but in addition works of the so-called internal Emigration, of the resistance, and people written in prisons and focus camps. a lot of this literature isn't simply available in German, and never on hand in any respect in English translation. ancient and ideological context is supplied in chapters overlaying influential works of the time resembling Alfred Rosenbergs the parable of the 20 th Century and Houston Stewart Chamberlains the principles of the 19th Century. Schoeps additionally analyzes Nazi cultural rules, fascist histories of literature, and the function of German reports and Germanists within the Nazi circulation. an immense portion of the ebook is dedicated to movie, then a comparatively new medium of communique whose propaganda worth was once essentially famous by means of Goebbels, the minister for propaganda and president of the Reichs Chamber of tradition. the most fascinating parts of study in recent times is the connection among Hitlers cultural commissars, particularly Goebbels, and the literature and picture construction of the Nazi years. This booklet relies at the revised and increased moment German variation, Literatur im Dritten Reich (1933-1945), yet has back been revised and extended, specially the bankruptcy on movie and Nazi rules towards the movie undefined. The bankruptcy on cultural guidelines has additionally been elevated to incorporate Himmlers efforts to meddle during this sector. New are also sections facing Jewish entertainers in focus camps (for instance, Kurt Gerron) and actions of the Jewish Cultural League. Karl-Heinz Schoeps is professor of German on the college of Illinois at Urbana-Champaign
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Additional info for Literature and Film in the Third Reich
However, such critical criteria were not valid between 1933 and 1945. So that no critical comments could turn up in book reviews, Goebbels prohibited art criticism in 1936 and replaced it with an “art report” that was to presume “respect for artistic work and creative accomplishment” (Strothmann, 276). Not critical understanding, which was according to Johst only an expression of “superficial persuasion and Jewish equivocation,” was decisive, but rather “instinct” (Strothmann, 264). Criticism was considered “un-German” (Strothmann, 285).
Known publishing houses like Westermann, Insel, List, Diederichs, and others did not have any difficulty producing and selling völkisch national literature (Strothmann, 93). “The thesis of Jewish and at the same time ‘red dominance’ of the German literature operation was pure invention to provide a rationale for the control power as an obligation of the state and party and to justify that power to the public” (Strothmann, 94). The following chapter presents some of the control agencies and control mechanisms of the state and party that served these purposes and often had overlapping functions.
Irgendwo. Formen utopischen Denkens (Places. Somewhere. Forms of Utopian Thinking) (Königstein im Taunus: Athenäum, 1981), 61. THE IDEOLOGICAL CONTEXT E 29 14 Quoted in Joachim Petzold, “Die Entstehung der Naziideologie” (The Development of Nazi Ideology), in Kontroversen um Hitler,” edited by Wolfgang Wippermann (Frankfurt am Main: Suhrkamp, 1986), 169. 15 Jost Hermand, “Ultima Thule,” 70. 16 On this subject, see Alfred Rosenberg, “Der deutsche Ordensstaat” (The State of the German Order), in Alfred Rosenberg, Gestaltung der Idee, Blut und Ehre, II.