Fritz Lang’s 1931 M is a cinematic thriller of a psychotic child murderer. Internationally known for its advanced technological accomplishments: creative use of sound, crosscutting editing, and graphic compositions to propel the narrative. Because of this innovation M will appeal to several generations. However, for my purposes, M is most intriguing as not only a reflection of the psychological disorder of a man, but also the disorder of German Expressionist film in the early thirties. Consciously made this way or not, scene analysis provides evidential support that M seems to mirror the rise of fascism in Germany, but in that reflection may be attempting to expose the M to the German audience responsible.
the changes in the mechanisms of ‘volkisch’ anti-semitism and how it developed throughout the preceding decades, with particular scholarly movements including the inception of scientific racism, the volkisch movement in correspondence with new imperialism and militant nationalism. The approach suggests that the holocaust was exclusively akin to Germany’s rising ‘volkisch’ culture and that the aggressive notions of supremacy produced in the late nineteenth century influenced their attitudes towards the other races within Germany at the time and subsequent to the century’s turn. This particular approach is therefore beneficial for understanding how the very concept of a civilised genocide was manifested and how anti-semitism transformed according to the circumstances of the nineteenth and twentieth centuries, and is therefore the synthesis of the intentionalist and functionalist schools as the German anti-semitism was developed in the long-term through cumulative radicalisation. It adds to our understanding of how ‘völkisch-antisemitisch’ developed from mere prejudice into genocide and how it was influential in the development of advancement of National Socialism, being spawned through nineteenth century scholarly ideologies and social movements including Social Darwinism as a product of emerging ‘scientific racism’, with this and the association with romantic nationalism being
‘German aggression was responsible for the outbreak of a general European war in August 1914.’ How far do you agree with this judgement? The above judgement outlines a clear debate among historians as to whether German aggression was the main reason the First World War began in August 1914, or whether it was due to various other factors. Gordon Corrigan claims that it was due to German aggression and therefore represents the closest argument to the one made in the question. Corrigan also references Fischer to support his argument, and so supports the Fischer Theory, which holds Germany to be responsible for the outbreak of the First World War due to their aggressive foreign policy. Contrastingly, James Joll suggests that Germany’s defensive offensive war rooted from a fear of encirclement from the countries that it borders, and so presents the opinion most opposing to that of the question.
BOOK REVIEW: Spike Lee Film: 14 SYNOPSIS: German authors Gunnar Landsgesell and Andreas Ungerbock's tome SPIKE LEE FILM: 14 is a comprehensive, handsome-looking read featuring an interesting and extensive profile on the confrontational and immensely talented American filmmaker Spike Lee and his brand of cinema. The text is written in the German language but the contents are universally received as the scribers serve up a hearty menu of Lee's filmography that includes his cinematic works from 1986's She's Gotta Have It to 2006's Inside Man. Among the film critics/film scholars that contribute their critiques to Landsgesell and Ungerbock's introspective movie book is well-known Pulitzer Prize-winning Chicago-based Roger Ebert (he penned the 2004 review She Hate Me). Besides the notable contribution from Ebert, Landsgesell and Ungerbock tap the services from other revered American and European sources that serve up Lee's films in thorough, thought-provoking compositions. In this 304-page entertainment book, there is other subject matter to consider besides the in-depth reviews of the contributors' written material.
This is demonstrated heavily through: * Architecture * Radio * Film ( triumph of the will) * Meetings and rallies * Speeches Goebbels, minister for propaganda was appointed in 1929, and the rest of the cabnet drew upon a variety of techniques in establishing a positive and progressive view of the Nazi state, Techniques: * Repetition * Stereotypes * Low intellectual level * Slogans * Appeal to emotion tather than rationality * Subtle, subliminal! The use of propaganda was highly effective as its aims achieved: * a single view, a one sided attitude which most of society clung to ignorantly * propoganda riled up the peoples emotions, suppressing logic and with the Nazis use of fabricated stories and figures, the people became deluded * allowed the Nazis to Marginalise people enabling them to create scapegoats, stereotypes, the intolerance and predjudice of certain groups in society especially Jews and communists which created
This project would be based on the point of view of the film and the research of history in order to find out if this film is completely accurate and find out if the directors left something behind. The Swing Kids Movement took in place Germany around the 1930s. The youth movement in Germany started years before Hitler showed up on the scene. “It began in the 1890’s and was known as the Wandervogel, a male-only movement featuring a back-to-nature theme” (The History Place) (The Nazification of Germany Society). During the leadership of Adolf Hitler, he wanted his beliefs to increase all over Germany.
Propaganda is the use of the Media to aggressively promote ones point of view. Firstly, the Nazis used different forms of media to strengthen their position once in power by forcing their views on different kinds of people. Newspapers, which were read by all adults and some older teenagers, were encouraged by the Nazis – but they had to provide views which the Ministry agreed with or face the consequences. Journalists were sometimes given direct instructions what to right. Therefore, there could be no free press in Germany; every newspaper was a Nazi newspaper.
Hitler's pursuit of Lebensraum resulted in Germany exhibiting ultranationalism towards its neighbours. The ultranationalism that Germany was demonstrating led to expansionism and ultimately led the world to a second world war. Hitler created a distorted version of Darwin's Theory of Evolution, known as Social Darwinism. This principle stated that a nations strength was measured by its ability to fight and win wars; any nation displayed to be weak or unable to fight was a target for conquest. Hitler displayed ultranationalism when he put Social Darwinism into action, he was creating a master race.
He sees kitsch as an unreal experiance and a faked sensation. He emphasized in his essay "Where there is an avant-garde, generally we also find a rearguard. True enough - simultaneously with the entrance of the avant-garde, a second new cultural phenomenon appeared in the industrial West: that thing to which the Germans give the wonderful name of Kitsch: popular, commercial art and literature with their chromeotypes, magazine covers, illustrations, ads, slick and
e) Out of the Volkish Movement came the Thule Society, a Volkish movement that dotted German Landscape. This became useful to the early founders of NSDAP. f) Thus instead of NSDAP being a direct reaction to being betrayed or to the Treaty of Versailles. The NSDAP may be traced to the attempt by German Military and Industrial leadership to manipulate labor in support of the war effort. 2) 1915: Hugenberg established the Petitions of The Six Associations and of the Intellectuals who represent the war