Ministry of Illusion Nazi Cinema and Its Afterlife
List price: $49.00
Buy it from $13.66
This item qualifies for FREE shipping
*A minimum purchase of $35 is required. Shipping is provided via FedEx SmartPost® and FedEx Express Saver®. Average delivery time is 1 – 5 business days, but is not guaranteed in that timeframe. Also allow 1 - 2 days for processing. Free shipping is eligible only in the continental United States and excludes Hawaii, Alaska and Puerto Rico. FedEx service marks used by permission."Marketplace" orders are not eligible for free or discounted shipping.
30 day, 100% satisfaction guarantee
If an item you ordered from TextbookRush does not meet your expectations due to an error on our part, simply fill out a return request and then return it by mail within 30 days of ordering it for a full refund of item cost.
Learn more about our returns policy
Description: German cinema of the Third Reich, even a half-century after Hitler's demise, still provokes extreme reactions. "Never before and in no other country," observes director Wim Wenders, "have images and language been abused so unscrupulously as here, never before and nowhere else have they been debased so deeply as vehicles to transmit lies." More than a thousand German feature films that premiered during the reign of National Socialism survive as mementoes of what many regard as film history's darkest hour. As Eric Rentschler argues, however, cinema in the Third Reich emanated from a Ministry of Illusion and not from a Ministry of Fear. Party vehicles such as Hitler Youth Quex and anti-Semitic hate films such as Jew Suuml;ss may warrant the epithet "Nazi propaganda," but they amount to a mere fraction of the productions from this era. The vast majority of the epoch's films seemed to be "unpolitical"--melodramas, biopix, and frothy entertainments set in cozy urbane surroundings, places where one rarely sees a swastika or hears a "Sieg Heil." Minister of propaganda Joseph Goebbels, Rentschler shows, endeavored to maximize film's seductive potential, to cloak party priorities in alluring cinematic shapes. Hitler and Goebbels were master showmen enamored of their media images, the Third Reich was a grand production, the Second World War a continuing movie of the week. The Nazis were movie mad, and the Third Reich was movie made. Rentschler's analysis of the sophisticated media culture of this period demonstrates in an unprecedented way the potent and destructive powers of fascination and fantasy. Nazi feature films--both as entities that unreeled in moviehouses during the regime and as productions that continue to enjoy wide attention today--show that entertainment is often much more than innocent pleasure.
Rush Rewards U
You have reached 400 XP and carrot coins. That is the daily max!
Limited time offer:
Get the first one free!
All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.
List price: $49.00
Copyright year: 1996
Publisher: Harvard University Press
Publication date: 10/1/1996
Size: 6.75" wide x 9.25" long x 0.75" tall
Eric Rentschler is Arthur Kingsley Porter Professor of Germanic Languages and Literatures at Harvard University.
|Abbreviations and Special Terms|
|Introduction: The Power of Illusions|
|A Legend for Modern Times: The Blue Light (1932)|
|Emotional Engineering: Hitler Youth Quex (1933)|
|Home Sweet Heimat: The Prodigal Son (1934)|
|Hollywood Made in Germany: Lucky Kids (1936)|
|Astray in the New World: La Habanera (1937)|
|Specters and Shadows|
|The Elective Other: Jew Suss (1940)|
|The Fuhrer's Phantom: Paracelsus (1943)|
|Self-Reflexive Self-Destruction: Munchhausen (1943)|
|Epilogue: The Testament of Dr. Goebbels|
|Films and Events, 1933-1945|
|American Film and Videotape|