The best argument around to cease funding to PBS and NPR.


NO, although there is a good deal of content that I do not care for, I am not some frothing at the mouth right wing nut that believes these are the spawn of Satan. A good deal of their content is VERY good and commercial broadcasters should have the privilege of presenting it, at a profit, to and audience that hopefully has grown tired of Charlie Sheen. However I recently watched Triumph of the Will via my Netflix subscription and was amazed at how it projected the same resonance as a Ken Burns film. Now while we all believe our party to be the supporter of rights and liberties we all have strong reservations about the other party – and, if we have lived long enough, are none to sure about some in our own party come to that! Many of the documentaries produced by the government during WWII were not permitted to be shown in the US just to prevent the sort of propaganda front that the Nazis ran. Why, in spite of the fact that we are broke and they are money losers, do we continue courting disaster by leaving these tools in the hands of our benevolent bureaucratic masters – who seem to get a little less benevolent every day?

 

Nazis and the cinema Susan Tegel National socialism and motion pictures London ; New York : Hambledon Continuum, 2007 Hardcover. 1st. ed. x, 324 p., [8] p. of plates : ill. ; 24 cm. Includes bibliographical references (p. [289]-307), filmography (p. [277]-287) and index. Clean, tight and strong binding with clean dust jacket. No highlighting, underlining or marginalia in text.  VG/VG

Before the rise of television, the cinema was a key medium of entertainment and information. The Nazi regime, which inherited the largest film industry outside Hollywood, realised this clearly, with some of the most memorable images of Hitler and his party coming from Leni Riefenstahl’s  film Triumph of the Will.

Susan Tegel has written a comprehensive account of the films made in Nazi Germany from 1933 to 1945, including the notorious feature film, Jüd Suss, and the compilation documentary Der Ewige Jude. She explores in detail how the film makers were controlled and used by the regime. She also examines other less well- known films featuring Jewish characters. In such films she relates the historical context to government policies concerning the Jews.

Newsreels and documentaries and their place within a cinema programme are discussed as are the two documentaries made in Theresienstadt under the SS rather than the Propaganda Ministry. She looks at the industry itself, its reorganization, funding, the interventions of the Propaganda Ministry headed by Goebbels, the compromises which people had to make, the careerism and the dangers which some faced either of unemployment or worse.

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