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Thread: Goebbels' Place in History

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    Goebbels' Place in History

    Mark Weber

    No other name is so firmly associated with the term propaganda, conjuring lies and deceit, than that of Joseph Goebbels. But the popular image of this man, particularly in the United States, is a crude caricature ... Contrary to popular belief, Goebbels was successful as a propagandist not because he was a master of the "Big Lie," but rather as a result of his fidelity to facts and truth ... It is also common to imagine that, however skilled, Goebbels was little more than a clever ranter who won support from his countrymen by appealing to base feelings of envy, revenge, conceit and arrogant pride.
    http://www.ihr.org/jhr/v15/v15n1p18_Weber.html

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    Goebbels did have a knack at making propaganda very entertaining & enjoyable. He definitely had a flair and talent for making propaganda a valid art form, in it's own right. Political parties all over the world have been highly influenced by Goebbels ability to attract the masses.

    CULTURE & LIFESTYLE | 26.02.2004
    Swinging for Goebbels

    "Mr Churchill, you never can win this war."
    Nazi opposition to "degenerate" jazz and swing may be well known, but few know Goebbels used the propaganda value of the music to target Allied listeners via the airwaves with his band Charlie and his Orchestra.

    During the Nazi era, an ominous knock on the door often meant the end of the party for Germany's teenagers who belonged to the so-called "swing generation" -- those who grew their hair long, listened to American swing and big band jazz and rebelled against the martial drills of Hitler's youth league.

    The Nazis, who frowned upon jazz as "impure" and "degenerate" on account of its African-American roots promptly banned the music when Hitler came to power in 1933. The Führer's lieutenants routinely busted parties and hauled away defiant teenagers and musicians to concentration camps for listening to the "decadent" records.

    Nazi propaganda with oomph



    Dr. Joseph Goebbels, German minister of propaganda
    But not everyone who dared to listen to Benny Goodman and swing bands had to fear such a dreadful fate. Some like saxophonist Lutz Templin actually received covert encouragement to listen to the latest hits by American swing orchestras and take copious notes. The orders came from none other than Joseph Goebbels (photo), Hitler's much-feared propaganda minister.

    Shortly after Hitler's ascension to power, Goebbels took over the German airwaves and broadcast Nazi propaganda texts throughout the world via short-wave. Recognizing the enormous influence of radio and music, the crafty minister called for the creation of his own swing band in 1940.

    He figured that while music at the home front had to conform to the traditionalist tastes of Hitler and the Nazi elite, a bit of oomph was needed for propaganda aimed at foreign countries.

    Complete Article:http://www.dw-world.de/dw/article/0,...124275,00.html
    SUMMARY OF WE HAVE WAYS OF MAKING YOU THINK:

    GOEBBELS, MASTER OF PROPAGANDA (BBC 1992)

    Goebbels’ Interest in Film
    In 1933, Joseph Goebbels, at the age of 35, became Nazi Propaganda Minister. After graduating from university, Goebbels had drifted aimlessly until joining the Nazi Party in 1924. Before becoming Propaganda Minister, Goebbels’ interest in film was more of a hobby. His diaries reveal a man obsessed with film, who watched everything, and that his favourite films were the Hollywood films, Gone With the Wind and Disney’s Snow White and the Seven Dwarfs.

    Goebbels’ Ideas on the Best Types of Propaganda
    Goebbels most valued not political films, but those that were entertainment. According to Fritz Hippler, a director during the Nazi era, Goebbels believed that film worked on the subconscious, and he placed it above all other mediums of communication. Goebbels disliked films that were overtly political. He hated the political films such as Hitler Junge Quex (Hitler Youth Quest) 1933, Hans Westmar 1934. In Hitler Junge Quex a young boy dies for the Fuhrer. Goebbels preferred entertainment films, such as Patrioten (The Patriots) 1936 and Es Leuchten die Sterne (The Stars are Shining) 1937, which contained spectacular dancing scenes. He was like the audience. According to Arthur Maria Rabenalt, a German director at the time of the Nazis, Goebbels preferred propaganda movies as entertainment because as entertainment they had a political purpose to keep people off the streets and their minds away from their household cares and worries.

    Babelsberg, West of Berlin, was where German films were made during the Nazi era. About 90 percent of German propaganda films had no overt political content. Goebbels was like a studio producer who decided which actors the directors would work with. He had complete control over the studios at Babelsberg.

    Creating Hitler’s Image
    In newsreels, Goebbels created the Fuhrer myth of a superman devoted to his country by carefully selecting scenes, and being careful not to over expose his ‘star’ too much. The newsreels were a marriage of sound, music, and vision. Hans Felt, a film critic of the 1930s, has analysed the newsreels, and sees them as effective propaganda. Analysing one newsreel, he describes it this way: 'it is choreographed like an orchestra, like a symphony, it is a score, the marrying of sound music and vision. The rhythm of the marching, the massed ranks. Then you have got the solitary figure of the leader. Whenever you see the outstretched arms, the Roman greeting, then you see the masses, and that is accompanied by passionate music, that is like a drug, feeling, emotion. Because you can only be driven to a hero's death by emotion. The close-ups are a poetic form of concentrated power. Nazis in half profile - it is composed strength. Then you have got the Swastika marching at you grabbing at you, that you become part of it. Then you see your comrades. You are not alone. There is always your father figure, leader. This is carefully prepared to be built up to a climax.'

    However, Hitler had other ideas. He commissioned Leni Riefenstahl to make a full feature length film of him and the Nazi Party, Triumph des Willens (Triumph of the Will) 1935, which showed the 1934 Nazi Nuremburg rally. The sombre tone of the film went against Goebbels’ idea that propaganda had to be entertaining. After this feature film, Goebbels convinced Hitler to appear in nothing similar to it. The experiment of this full feature length documentary portayal of Hitler was not repeated. Goebbels was careful not to over expose his 'star', so Hitler only appeared in short newsreels.

    Goebbels used films about past German leaders, such as Frederick the Great, Schiller, and Bismark to suggest that the situation under Hitler was similar, but Hitler never appeared in these films, although the audience could make the connection. Fritz Hippler, a Nazi film director, has commented on Der Grosse Konig (The Great King) made in 1942 about the German historical statesman Frederick the Great. 'This film portrayed the historical example of Frederick the Great who was suppose to symbolise Hitler. The idea of the historical film was to make a parallel with the present. The German who watched it was supposed to think that here is a similar situation to the present one'. The film showed in one part, Frederick the Great watching over Germany cut with scenes of the sturdiness of German farmers working to make the German nation under the guidance of their leader. Stirring images and arousing music were used effectively to build up an image of a nation of Germans toiling away united in purpose under their leader. These historical films had a subtle propaganda purpose.

    Propaganda as Entertainment
    Goebbels took propaganda as entertainment to fantastic heights with musical numbers on the German attack on England. Norbet Schultze (composer of the famous war song ‘Lili Marlene’) wrote a song that was a big hit on this theme, ‘The Battle Against England’ with the chorus, ‘Bombing England’, sung in a propaganda film by German airforce pilots flying over England. Another film about attacking Britain was Soldaten von Morgen Soldiers of Tomorrow (1941), which reinforced the German stereotypes of the English upper class as decadent. Goebbels knew that it was difficult to change the movie viewers’ beliefs, but easy to reinforce their prejudices.

    Complete Article:http://www.hsse.nie.edu.sg/staff/bla...gandaFACT.html

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    Joseph Goebbels: 'Casanova' of the Nazis

    The Telegraph (Britain)

    A new biography of Joseph Goebbels, the limping Nazi propaganda chief, shows him to be a serial seducer who kept detailed notes of his affairs ... In his 912-page study, Joseph Goebbels: Biography, Peter Longerich, a German academic and history professor at the University of London, has delved into rarely-accessed material from his subject's diaries, which span 30 years, to paint a remarkable portrait of the man who became one of Hitler's most trusted lieutenants.
    http://www.telegraph.co.uk/news/worl...the-Nazis.html

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