By David Welch, Roel Vande Winkel
Cinema and the Swastika is the 1st booklet to assemble comparative study at the foreign growth of 3rd Reich cinema. This quantity investigates numerous makes an attempt to infiltrate - economically, politically and culturally - the movie industries of 20 nations and areas both occupied by way of, pleasant with or impartial in the direction of Nazi Germany. With contributions from across the world acclaimed experts, the territory lined contains Western and vital Europe, Italy, Japan, Scandinavia, Spain, South Americas and the united states. This ebook additionally positive factors exams of the overseas movie Chamber, wherein the Nazi propaganda minister, Joseph Goebbels, attempted to steer the 'Film Europe' move, and of Hispano movie, during which German cinema attempted to overcome Spanish markets.
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Additional resources for Cinema and the Swastika: The International Expansion of Third Reich Cinema
In 1938 the Anschluss (annexation) of Austria provided further opportunities. Because of a common language and culture the Austrian film industry had always had close ties with Germany. 33 By 1939, all the major film companies were staatsmittelbar. Not surprisingly they quickly dominated film output. In 1939, they accounted for 60 per cent of all feature film production; in 1941, this figure had risen to 70 per cent. The aim behind this reorganisation was to rationalise film-making so that it could respond quickly and efficiently to the demands of the RMVP; in practice this meant simplifying the financing of films and maintaining a strict control over the content of feature films.
Bundesarchiv (Barch), R55/484, Akten des Reichsministeriums für Volksäfklarung und Propaganda, Filmkreditbankbilanz, 1943. 9. G. Albrecht, Nationalsozialistische Filmpolitik. Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches (Stuttgart: Ferdinand Enke Verlag, 1969), pp. 208–9. In fact a number of ‘half Jews’ and ‘quarter Jews’ did remain in the Reich Film Chamber. 10. D. ), pp. 10–18; Becker (1973); Spiker (1975). 11. The dates refer to the year when the Prädikate were first awarded.
D. ), pp. 23–9; M. S. Phillips, ‘The Nazi Control of the German Film Industry’, Journal of European Studies, 1(1) (1971), pp. 37–68; Spiker (1975), pp. 182–239. 24. W. Plugge, ‘Wesen und Aufgaben des Films und der Reichsfilmkammer’, in E. A. ), Deutsche Kultur im neuen Reich. Wesen, Aufgabe und Ziel der Reichsfilmkammer (Berlin: Schlieffen-Verlag, 1934), p. 123. 25. Barch, R2/4799, Akten des Reichsfinanzministeriums. 26. M. Behn and M. -M. Bock and M. Töteberg (eds), Das UFA-Buch (Frankfurt am Main: Zweitausendeins, 1992), pp.