By Roel Vande Winkel, D. Welch
This is the 1st e-book to collect comparative study at the overseas enlargement of 3rd Reich cinema. This quantity investigates a number of makes an attempt to infiltrate - economically, politically and culturally - the movie industries of 20 nations and areas both occupied through, pleasant with or impartial in the direction of Nazi Germany.
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This is often the 1st booklet to compile comparative study at the foreign enlargement of 3rd Reich cinema. This quantity investigates quite a few makes an attempt to infiltrate - economically, politically and culturally - the movie industries of 20 international locations and areas both occupied through, pleasant with or impartial in the direction of Nazi Germany.
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Additional resources for Cinema and the Swastika: The International Expansion of Third Reich Cinema
Meantime, Max Winkler’s Cautio openly or secretly acquired foreign theatres (preferably prestigious film palaces that attracted large audiences) in order to recuperate more ticket office revenues. Such tasks were usually carried out by plenipotentiaries such as Alfred Greven. Creating the UFI trust41 This unprecedented growth also created problems for the German film industry. The major problem at this stage, in spite of the establishment of new production centres, was the supply of films. Winkler was particularly concerned that if Germany was to exploit her position in Europe the industry should be producing at least 100 feature films per year.
Not surprisingly the result of such policies was the emigration of all those who either could not or would not submit to these conditions. The loss of talent was naturally severe but the Nazis were able to retain the services of many highly qualified technical and artistic staff, and a veritable reservoir of talented actors. Tightening the straitjacket: The new Reich Cinema Law10 To consolidate his position Goebbels still desired more power than he had hitherto secured through the Reich Culture Chamber legislation.
The dates refer to the year when the Prädikate were first awarded. 12. -J. Maiwald, Filmzensur im NS-Staat (Dortmund: Nowotny, 1983); W. Moritz, ‘Filmzensur während der Nazi-Zeit’, in S. ), Entartete Kunst: das Schicksal der Avantgarde im Nazi-Deutschland (München: Hirmer Verlag, 1992), pp. 185–91. 13. The decree was issued on 27 November and is reproduced in Wulf (1964), pp. 119–20. 14. S. Tegel, Nazis and the Cinema (London: Continuum, 2007), p. 44. 15. G. ). 16. ), p. 36. 17. This goes for other cultural products too.