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Nazi Propaganda

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Yvonne Houy

on 3 March 2016

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Transcript of Nazi Propaganda

National Socialist Propaganda
The Aestheticization of National Socialism:
Beauty through order in Mass Ornaments in Leni Riefenstahl's "Triumph of the Will" (1936)
"Nordic Beauty" vs. the "Jew"
The orchestration of violence
1933-1945: The sun always shines in Germany
Adolf Wissel, Kalenberger Farmingfamilie (1939)
Ivo Saliger, The Judgement of Paris (1939)
German Fashion
Josel Thorak, "The Victory of Work"
Arno Breker "Readiness" (1939)
Josef Thorak "Monument to Work: Reichsautobahn"
Adolf Ziegler "The Four Elements"
German Reichsautobahn
Leni Riefenstahl filming Olympia (1936)
Plan for the new "Germania"
"German bearing, German achievements
are evidence of Nordic racial inheritance"
"Jud Suess" 1940 German blockbuster
NS propaganda "documentary" of 1939
Josef Thorak "Comradeship"
Arno Breker, "German Couple"
"The Jews have typical physical features"
Museum exhibit during National Socialism
"Schoenheit und Glaube" ("Beauty and Belief"):
The beautification of Germany through National Socialism
"The Aestheticization of Politics" (Walter Benjamin, 1936):
A key element of fascistic regimes in which all aspects of life are subordinated to art, including politics.

Architecture and Urban Planning
Everyday Items
The German Man
Light monuments at a NS mass gathering
The German Woman
Film Stars
Why would the beautification of a nation be problematic?
NS propaganda is not the past:
For beauty to emerge
what is "ugly" must be eradicated

"Degenerates" inspire and create "degenerate" art:
Both must be eradicated
The mentally ill, the physically debilitated,
all products of miscegenation, and above all:
the "Jew"
Filmposters for "The Eternal Jew"
Propaganda for aestheticization:
Simplistic Consistent Repetitive
Adolf Hitler:
Effective propaganda is
Simplistic Consistent Repetitive
Propaganda Minister Goebbels
created a complex, comprehensive system
of "Gleichschaltung" ("coordination")
to implement propaganda
Coordinating "the political will of the German Volk"
with the aims of the National Socialist State
Goebbels' "orchestra principle":
Just as the individual instruments of an orchestra
do not all play the same notes in order to create
a masterful, beautiful symphony,
so do the various media not do and say
exactly the same, and yet coordinate (and subordinate) themselves to create the larger message.
This included different media--radio, press, film--
and different channels and genres within those media.
Goebbels especially admired Hollywood entertainment films as vehicles of propaganda, and sought to create a rival German film industry with as much power to influence public opinion.

Goebbels to the film industry: "at all cost, avoid being boring."
"The Eternal Jew" 1939 "documentary"
Dr. Yvonne Houy
Nevada State College, February 23, 2012
Fascist art leads to repression and violence.
Propaganda about National Socialist
beautification of Germany was ubiquitous.

Anti-semitic propaganda was rare and often oblique in popular media... until 1939.
Goebbels' Propaganda Innovations:
Everyone must play the same symphony, or will be cast out of the Volk.
Seductiveness of Beauty. Art, Culture, Modern Design

A Volk not enthusiastic about the other side of aetheticization: eradication of the "ugly" through sterilization, ostracism, euthanasia

Market-driven economy: Consumption of the modern, "attractive"
The National Socialist regime sought total control over all media within Germany.
Propaganda was to unite the Volk.
Dissent was punished.
Full transcript