Cinema and the Swastika: The International Expansion of Third Reich Cinema
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This is the first publication to bring together comparative research on the international expansion of Third Reich cinema. This volume investigates various attempts to infiltrate - economically, politically and culturally - the film industries of 20 countries and regions either occupied by, friendly with or neutral towards Nazi Germany.
Kulturpolitik’, Germania, 318 (17 November 1934); Bundesarchiv Berlin (hereafter Barch), R 11, 1259 – ‘Deutsch-Ungarische Handelskammer in Budapest – Jahresbericht 1938’ (Budapest: February 1938), p. 3. MKK Berlin (Sztójay) to Foreign Minister Kánya, 1014/1936, Berlin, 7 March 1936. HNA, K 66, 296 cs., 1936, III-6/c, Alapszám 911/1936. J. F. Montgomery to Secretary of State, No. 364, Budapest, 3 April 1936. United States National Archives (hereafter USNA), RG 59, M-1206, Roll 6, Decimal file
film project checked by both the Film Credit Bank and the Reich Film Director. A film was often passed by the Censorship Office only one or two days before its première.12 This suggests that within a short period of time legal censorship became a mere formality, the real censorship being done elsewhere at an earlier stage in the process of the film’s production. When discussing the implementation of the Nazi Cinema Law it is important to consider the attempts to control film criticism at this
specifically ‘Austrian’ cinema in the German totalitarian state: ‘My native country was occupied by the National Socialists, and my work became a silent protest. Grotesque though it may sound, it is true that I made my most Austrian films at a time when Austria had ceased to exist.’9 Gertraud Steiner suggests that this was no simple hind-sighted self-justification. Forst’s WienFilm projects managed to provide a subtle resistance to the dictates of Nazi socio-culture. His popular success in
Jean Boyer’s Sérénade (1940).21 First activities of the Propaganda Division Belgium (PAB) in Nazi-occupied Belgium ( June–August 1940)22 Nazi Germany invaded Belgium on 10 May 1940. Acting against the explicit will of his government, Leopold III formally surrendered on 28 May in the hope that Hitler would restore Belgian independence, preferably under an autocratic government led by the king. Hitler, who never revealed the political future he envisaged for Belgium, did not even consider granting
wrote a letter, published in the Jornal da Tarde newspaper, rebuking the statements of the film critic Adil, who had commented on the lack of interest on anti-Nazi films in Porto Alegre. In it he said, 10.1057/9780230289321 - Cinema and the Swastika, Edited by David Welch and Roel Vande Winkel Copyright material from www.palgraveconnect.com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-02 94 95 Sensationsprozess Casilla (1939), an Ufa film by Eduard von Borsody