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Inksetter, Hamish. "Perceptions of Evil: A Comparison of Moral Perspectives in Nazi Propaganda and Anti-Nazi Literature." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31917.
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This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil.
Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level.
In addition to demonstrating the subjectivity of moral perspective during a
tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.
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Wright, Melanie. "Metaphors of health and disease in Nazi film propaganda." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1602.
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This study examines how propaganda imagery was used to reveal metaphors of health and disease in Nazi Germany from 1933 to 1945. Specifically, it explores how German medical and political authorities of this period entrenched biological explanations for social ills through medico-political discourses of disease, criminality and deviancy, in their efforts to exterminate particular populations. This propaganda was conversed with the idealised and beautified German Volk who, in turn, were graphically elevated to the realms of a supreme master race. I use a methodology composed of compositional and discourse analysis, and a theoretical framework that develops the work of Erving Goffman. These frameworks were applied to a range of images from a sample of propagandist movies, published within the time-frame, in order to illuminate how the German medical establishment sought to realise the juxtaposition of both promoting life and administering death. Findings suggest that the biological categorising and subjective measuring of individuals was a modernistic philosophy. Extensive use of metaphors resulted in a widening range of stigmas which needed medical intervention to maintain normality and social order whilst purifying and cleansing the body politic. The study advances the understanding of the relationship between the discourses of health and disease with an in-depth sociopolitical study of imagery, asking why it was used to legitimate and nationalise social inequality in the context of Nazi Germany. It further offers a new socio-filmic model for future use when analysing moving imagery in the sociohistorical field. These two advances therefore provide novel contributions to the sociology of public health and social methods.
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Lambert, James K. "REEL NAZIS a propaganda history." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4954/.
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This thesis film is an overview of Nazi Germany, primarily told through the use of their own propaganda images, and structured in such a way as to make the viewer question what they think they know about the past, present, and future. This paper is a discussion of the process that went into making the film and some of the ideas connected to it that could not be brought out in the documentary.
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Maxwell, Rachel Elizabeth. "Aeschylus and National Socialism: Lothar Müthel's Orestie as Nazi Propaganda." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6020.
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This thesis analyzes the text, stage design, and historical context of Lothar Müthel's production of Aeschylus's Oresteia trilogy in 1936, which was sponsored by the National Socialist government during a broader publicity campaign during the Summer Olympics of 1936. The third play, Eumenides (Die Versöhnung in German) has democratic undertones, and therefore seems incompatible with Nazi ideology at first glance. There are three ways in which the Nazis made Müthel's adaptation of Die Versöhnung compatible. First, in the context of the Olympics, the Nazis attempted to draw a connection or relationship between modern German and ancient Greek culture, implying themselves to be successors to ancient Greece. Second, through Ulrich von Wilamowitz-Moellendorff's interpretations of the Greek word δίκη (justice), a central concept in the Oresteia, the Nazis were able to emphasize the progression of a state from a savage, chaotic period to a new, better civilization, an idea that particularly appeals to Nazi narrative owing to their own recent history with the Weimar Republic. Third, the Nazis shifted focus from the institution of the Areopagus to the role of Athena and interpreted her to be a Germanic goddess. Müthel's adaptation is a good case study in how, through appropriation, a political movement can interpret a text to fit their ideology.
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Smith, Cecilia Angela Ann. "On the National Socialist organisation NSV : 'NS-People's Welfare', propaganda and influence from 1933-1945." Thesis, University of Edinburgh, 1986. http://hdl.handle.net/1842/20195.
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Pereira, Wagner Pinheiro. "O império das imagens de Hitler: o projeto de expansão internacional do modelo de cinema nazi-fascista na Europa e na América Latina (1933-1955)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29092008-172531/.
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O propósito principal desta tese de doutorado é desenvolver um estudo de histórias conectadas sobre a expansão internacional do modelo de cinema nazista na Europa e na América Latina, durante as décadas de 1930 e 1950. A influência da Alemanha nazista sobre as indústrias de cinema e as produções cinematográficas da Itália fascista, de Portugal salazarista, da Espanha franquista, do Brasil varguista e da Argentina peronista, representou a tentativa de Berlim tornar-se a Nova Hollywood Mundial e teve importantes implicações políticas, culturais e econômicas em todos esses regimes políticos de massas, que nos propomos analisar. A tese analisa também três instituições político-culturais privilegiadas do III Reich: 1) O Ministério Nacional para Esclarecimento Público e Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), através do qual o ministro da propaganda nazista, Dr. Joseph Goebbels, empenhou-se na conquista do controle total dos meios de comunicação de massa, na reestruturação forçada das indústrias cinematográficas e na padronização das sessões de cinema, impondo uma produção obrigatória, planejada para aumentar o potencial propagandístico do cinema; 2) A Câmara Internacional de Cinema (Internationale Filmkammer IFK), uma organização internacional de representantes da indústria cinematografia de vinte e duas nações, fundada em 1935 para estabelecer o controle hegemônico da Alemanha nazista sobre um espaço europeu econômico e cultural integrado, que pudesse rivalizar com os modelos de cinema dos Estados Unidos da América e da União Soviética e; 3) A Hispano-Film-Produktion (HFP), através da qual o cinema nazista tentou conquistar os mercados hispânicos (Espanha e América Latina). Em termos gerais, a análise das políticas governamentais, dos principais temas políticos apresentados nos filmes, da influência da censura e de outros aspectos relacionados à produção cinematográfica, tais como legislação, políticas de crédito e sistemas de co-produções entre esses regimes políticos de massas, pretende mostrar como o cinema mundial foi influenciado e controlado pela Alemanha nazista, mas apresentou especificidades que procuramos mostrar neste trabalho.The main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.
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Mendez, Alexa J. "People as Propaganda: Personifications of Homeland in Nazi German and Soviet Russian Cinema." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439280003.
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Usbeck, Frank. "Representing the Indian, Imagining the Volksgemeinschaft. Indianthusiasm and Nazi Propaganda in German Print Media." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-197936.
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The German fascination with Native Americans has been a tradition of several centuries, beginning with the first reports about the New World and its peoples. The main features of German Indian imagery have evolved since the early nineteenth century and have evoked the phenomenon of mass euphoria for Indians in the late 1800s, a euphoria which lasted for more than one hundred years. This fascination has been a source of curiosity for both Native peoples and scholars.
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Usbeck, Frank. "Representing the Indian, Imagining the Volksgemeinschaft. Indianthusiasm and Nazi Propaganda in German Print Media." Institut für Ethnologie der Universität Hamburg, 2013. https://tud.qucosa.de/id/qucosa%3A29261.
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The German fascination with Native Americans has been a tradition of several centuries, beginning with the first reports about the New World and its peoples. The main features of German Indian imagery have evolved since the early nineteenth century and have evoked the phenomenon of mass euphoria for Indians in the late 1800s, a euphoria which lasted for more than one hundred years. This fascination has been a source of curiosity for both Native peoples and scholars.
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Barton, Matthew. "The Cathedral of Ice: Terministic Screens, Tyrannizing Images, Visual Rhetoric, and Nazi Propaganda Strategies." Thesis, Louisiana Scholars' College, 1999. http://hdl.handle.net/10919/71573.
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Many aspects of the Nazis’ methods of persuasion, especially the rhetoric and psychology of printed propaganda and the speeches of Adolf Hitler and Joseph Goebbels have been the subjects of intensive study. Oddly, the subject of technology applied as an instrument or supplement to propaganda, or the rhetorical contributions of technological devices, has very little representation in Nazi studies, despite the significance it played in their rise to power. This thesis attempts to fill that gap. Specifically, I will be treating lights and lighting, sound and music, the Nuremberg Party Rallies, radio, and cinema from a rhetorical perspective. The rhetorical framework I have constructed to analyze these elements relies on a synthesis of Richard Weaver’s Tyrannizing Image and Kenneth Burke’s Terministic Screen concepts. Burke provides an important connection to visual rhetoric while Weaver provides links to culture, myth, and history.The ultimate goal of this thesis is to show how the rhetorical theories of Kenneth Burke and Richard Weaver can be used to explain the Nazis’ persuasion tactics. Aristotle demanded that rhetors “know all available means of persuasion,” and obviously, technological devices have rhetorical value. To prove this, I have relied as much as possible on primary sources, especially the autobiographies of former Nazis and Hitler’s Mein Kampf, but the Hitler biographers (Joachim Fest, Robert Waite, and John Toland) have also proved their usefulness. While this thesis is not an exhaustive treatment of the subject, it at least sows the field with seeds of thought. I do not address either the printed propaganda of Nazism or the speeches of Hitler or Goebbels. I examine instead the rhetorical devices and methods used by the Nazis to reinforce these types of persuasion.
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Ellis, Erin. "The "German" and "Nazi" in Chaplin's The great dictator, Capra's The Nazis strike and Hitchcock's Lifeboat." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241211595.
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Kelty, Margaret Claire. "From Heaven to Hell: Christianity in the Third Reich and Christian Imagery in Nazi Propaganda." Thesis, Boston College, 2004. http://hdl.handle.net/2345/388.
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Thesis advisor: John MichalczykAlthough the National Socialists' ultimate intentions in regard to religion were concealed from the pubic under layers of political rhetoric, their objectives were nonetheless clear. The National Socialists sought the destruction of the Christian religion, whose teachings and values were seen as inimical to those of the State, and the establishment of a Reichskirche that would preach the doctrines of National Socialism. The German government during the Third Reich was a totalitarian regime, but there was one matter in which the Nazi Party did not have carte blanche, religion, which made it an intrinsic threat to the authority of the State. Many Nazi officials saw Christianity as the inherent and irreconcilable enemy of National Socialism, but they knew they risked losing the support of the German people if they instantly dissolved the Christian Churches. Instead of vehemently attacking the Christian confessions the way they did in Poland, in Germany the National Socialists set up a mirage of support for and acceptance of religious institutions, all while working to undermine the Christian tradition that they considered of greatest detriment and danger to their State
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
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Verbovszky, Joseph. "Leopold von Mildenstein and the Jewish Question." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1365174634.
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Chibireva, Natalia. "Architecture, ideology and order : the idea of the classical in 1930s architecture and Nazi spatial strategies." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391395.
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Pfeifer, Justin Thomas. "The Soviet Union through German Eyes: Wehrmacht Identity, Nazi Propaganda, and the Eastern Front War, 1941-1945." University of Toledo / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1417426182.
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Kegel, Jens. ""Wollt ihr den totalen Krieg?" eine semiotische und linguistische Gesamtanalyse der Rede Goebbels' im Berliner Sportpalast am 18. Februar 1943 /." Tübingen : Niemeyer, 2006. http://catalog.hathitrust.org/api/volumes/oclc/75253266.html.
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Ellis, Erin Jean. "The “German” and “Nazi” In Chaplin’s The Great Dictator, Capra’s The Nazis Strike and Hitchcock’s Lifeboat." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1241211595.
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Wolnik, Gordon. "Mittelalter und NS-Propaganda Mittelalterbilder in den Print-, Ton- und Bildmedien des Dritten Reiches /." Münster : Lit, 2004. http://books.google.com/books?id=ZABoAAAAMAAJ.
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Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.
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Vicuña, Parker Aldo Alberto. "Análisis de la propaganda nazi y su rol durante el Holocausto y el desarrollo de la Segunda Guerra Mundial (1939-1945)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654060.
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Este trabajo de investigación analiza la propaganda nazi entre las décadas de 1930 y 1940. Bajo esta premisa, evidencia el rol que tuvo la política de comunicación totalitaria del régimen de Adolf Hitler sobre el Holocausto y la Segunda Guerra Mundial.
Durante la dictatura de Adolf Hitler, los alemanes se convirtieron en pioneros en desarrollar técnicas de comunicación para los medios de masas de la época. De esta forma se analiza el papel esencial de los medios en función a la política comunicativa nazi, así como también el rol de estos y sus efectos sobre la sociedad. Esta investigación es relevante porque permite comprender desde diferentes perspectivas un ángulo poco tratado del Holocasto y la Segunda Guerra MundialThis research work analyzes Nazi propaganda between the decades of 1930 and 1940. Under this premise, it shows the role that the totalitarian communication policy of the Adolf Hitler regime had on the Holocaust and the World War II. During the dictatorship of Adolf Hitler, the Germans became pioneers in developing communication techniques for the mass media of the time. In this way, the essential role of the media in relation to Nazi communication policy is analyzed, as well as their role and their effects on society. This research is relevant because it allows us to understand from different perspectives a little treated angle of the Holocaust and World War II.
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Smith, Gretchen. "A Comparative Critical Discourse Analysis of the Visual and Linguistic Depictions of Women and Men in Data from Nazi Propaganda and der Spiegel Magazine." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/327.
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Critical Discourse Analysis (CDA) approaches the study and critique of social inequality by focusing on the role of discourse in the production and reproduction of dominance, which is defined as the exercise of social power by elites, institutions or groups, that results in social inequality, including political, cultural, class, ethic, racial, and gender inequality (van Dijk, 1993, pp. 249-250). One important social issue that be examined in any given culture in terms of dominance and inequality is gender. The historical discussion of the present study is used to suggest that institutions in political power have weaved a thread of propaganda throughout Germany's history that has used its citizen's sense of folk community for its own agenda and has consistently put women in the secondary role in terms of their contributions to the state. The present study examines the roles of women in Germany's democratic political culture of the present and compares these roles to roles of women in the Third Reich, based on popular media images of women and men, Nazi Propaganda and current issues of der Spiegel. Nazi propaganda is generally recognized as being highly "effective" in its potential for altering mass consciousness. Magazines like der Spiegel with wide scale distribution and political clout among readers in Germany are also in a position to influence the social environment. Some examples of linguistic and visual distortion that are illustrated by the data were selective use of direct quotation where authority is given to certain groups of people and is withheld from others, role allocation where specific groups of people are described through selective roles, and assimilation where other than the elite everyone is blended into a homogeneous group. The present study suggests this type of implicit interpretational distortion serves the same function as the Nazi propaganda in an even more effective manner precisely because it is implicit and indirect.
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Crabtree, David. "The Image of the Enemy: To Auschwitz with Righteousness." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/8.
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This thesis is a study and analysis of Nazi propaganda, specifically focusing on the medium of film. Throughout Hitler’s Third Reich, propaganda played a vital role in maintaining popular support for the party platform in addition to fueling the convictions of the Nazi elite. There are three main divisions to this study. First, an overview of the structure and organization of Nazi Germany and particularly The Ministry of Public Enlightenment and Propaganda will be given, followed by an exploration of the origins and evolution of anti-Semitism in the Third Reich. Last, two Nazi anti-Semitic propaganda films will be analyzed to exemplify the whole of Nazi propaganda. Specifically, an emphasis will be made that these films played a significant role in solidifying and sustaining the mentalities and actions desired by the Nazi regime. Consequently, these films can be correlated to historical events which occurred before and after 1940.
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Fisk, Sarah Anne. "When Words Take Lives: The Role of Language in the Dehumanization and Devastation of Jews in the Holocaust." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/2900.
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This thesis will examine the ways in which anti-Semitic and more generalized racial theories were powerfully and effectively mobilized under Hitler and his Nazi regime. In the establishment of Nazi ideology and the practice of its principles, Hitler drew upon an old, extensive and specific genre of animalizing language. Hitler's regime skillfully employed contemporary and diverse modes of discourse to dehumanize and devastate the Jewish people. By juxtaposing traditional anti-Semitic beliefs with ideals of Aryan superiority, the Nazis were able to expand and strengthen pre-existing anti-Semitism whilst reaffirming Germany as the ultimate example of evolutionary progression. Integral to Hitler's success was the use of animal imagery and its respective connotations, associations and evocations. Throughout Hitler's regime, the term "animal" remained without an exact or precise definition; the ambiguous definition of "animal" allowed for multiple applications – both destructive and constructive. When used in reference to the Jews, the term "animal" was loaded with a barrage of degrading references, images and emotions. The Jews were described as dirty, disease-ridden rats: weak, despoiling animals that needed to be exterminated and bloodsucking parasites that presented an imminent threat to German bloodlines, culture, morality and economy. These images all stirred feelings of disgust, abhorrence and fear especially when linked to ideas of unpredictable and overwhelming plagues and swarms. The concept of human "animals" was also applied to the Germans but with completely different consequences. The German "animal" was a natural predator, a super wolf, a noble and loyal dog. This wolf/dog was upheld for its prowess, its commitment to the pack and its virile bloodline. This image of animalism was not a degradation or an admission of German inferiority; rather, it was a declaration of evolutionary achievement and innate superiority. The flexibility of the term "animal" was always loaded with emotive connotations and representations whilst remaining fluid in its applicability – only to be temporarily fixed as and when it suited Nazi ends. Hitler utilized the ascribed authority of scientific and pseudo-scientific theories to reinforce a sense of legitimacy and add a compelling rationality to Nazi ideology. Modern media were efficiently employed to spread Nazi beliefs: emotive speeches and new legislative measures were broadcast on the radio; propaganda was printed and circulated whilst cinematography captured the imaginations of many Germans and represented the Jews' "animal" nature. With a wealth of resources available to his purposes, Hitler was able to form and strengthen an ideology that had every appearance of being credible, necessary, righteous and legitimate. Innovative concepts and practices of industrialism were important in the mobilization of Hitler's racial campaign; the employment of new technologies appealed to a sense of progress and national self-improvement as well as providing effective and detached methods of removing the Jewish presence from Germany. When placed within multiple modes of discourse, images of animalism became increasingly pervasive and the dehumanization of the Jews was well underway.
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Gillabert, Matthieu. "La propagande nazie en Suisse : l'affaire Gustloff, 1936 /." Lausanne : Presses polytechniques et universitaires romandes, 2008. http://catalogue.bnf.fr/ark:/12148/cb412595983.
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Texte remanié de: Mémoire de licence--Lettres--Fribourg (Suisse), 2006. Titre de soutenance : L'affaire Gustloff, 1936 : diplomatie allemande et propagande nazie en Suisse entre surenchères et rivalités.Bibliogr. p. 123-124. Diff. en France.
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Rescigno, Anthony. "Les films allemands en Moselle annexée par l’Allemagne nazie (1940-1945) : histoire d’un plaisir oublié." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0368/document.
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Cette étude décrit le marché des films allemands en Moselle pendant l'annexion du département à l'Allemagne nazie. Elle analyse la politique locale du cinéma mise en place par les nouvelles autorités (partie 1), la programmation des films (partie 2), leurs circulations et leurs consommations par les spectateurs (partie 3). Privilégiant une approche anthropologique du cinéma, l'observation essaie d'interroger l'efficacité des mécanismes d'hégémonie culturelle qui ne se réduisent ni à une entreprise de manipulation politique, ni à l'imposition implicite d'une vision du monde. Elle porte son attention sur le plaisir comme moteur de la conduite esthétique et expression d'une sensibilité partagée.Dès juillet 1940, le cinéma est entièrement « germanisé » : l’organisation de l’activité cinématographique est placée sous le contrôle du NSDAP et les films (Deutsche Wochenschau, Kulturfilm et longs-métrages) sont tous projetés en allemand. Pour autant, le cinéma demeure l’activité-phare de l’annexion. La fréquentation des salles de cinéma est massive notamment du fait de la qualité d'une filmographie qui était déjà la première en Europe avant l'avènement du nazisme. L'analyse du marché montre également la faible présence des films de propagande les plus spontanément associés au cinéma nazi et la normalité d'un divertissement de culture germanique centré sur le succès des genres les plus populaires (comme les films musicaux, les mélodrames, les films historiques) et sur le prestige et la beauté de vedettes admirées (Viktor de Kowa, Marika Rökk, Viktor Staal, Ilse Werner, etc.).L'étude de la réception des films allemands en Moselle annexée est l'étude de l'expérience qu'en font les spectateurs, notamment les plus jeunes d'entre eux, dont nous avons pu raviver les souvenirs par l'intermédiaire d'enquêtes orales. Les films sont un moyen de se divertir, de s’extraire d'un quotidien coercitif et répressif, et d’observer les tensions sociales inhérentes à la société de l’époque. Cette appropriation des films est à l’origine d'une neutralisation des effets idéologiques des plus virulents d'entre eux, et d’un attachement profond des spectateurs au cinéma allemand en général. Son plaisir est entretenu. Il fait l'objet d'échanges, de discussions, de partages. Mais l'assimilation systématique de tous ces films à l'idéologie nazie a rendu impossible sa transmission après la chute du Troisième Reich et la fin de la seconde guerre mondiale.Pensé volontairement comme un vecteur essentiel de la germanisation des populations de l'Est de la France appelées à devenir des Allemands à part entière, utilisé comme un instrument de propagande de l'idéologie nazie et une vitrine culturelle de l'Allemagne, le cinéma en Moselle annexée est un loisir sous influence qui se vit pourtant librement. Le plaisir du cinéma allemand est à la fois ce qui permet aux autorités de s'imposer politiquement dans l'ordre du loisir et dans le même temps, ce qui rend possible, par le biais du jeu, caractéristique de l'homo ludens, le souci de soi et l'estime des autres. Cette ambivalence paradoxale est le propre de l'hégémonie culturelleThis study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. However, the systematic assimilation of all these films to Nazi ideology made it impossible to show them after the fall of the Third Reich and the end of the Second World War.Deliberately conceived as an important tool in the Germanisation of the peoples of eastern France (who were expected to become fully-fledged Germans) and to be used as a propaganda tool for Nazi ideology and a cultural showcase for Germany in annexed Moselle, cinema was a free-spirited leisure activity. The popularity of German cinema is what allowed the authorities to politically manipulate leisure-time, moreover, it was made possible through cultural play or 'homo lumens' and by caring for oneself and the esteem of others. This paradoxical ambivalence is characteristic of a cultural hegemony
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Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.
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Alcouffe, François. "L’analyse psychologique des dirigeants étrangers par le diplomate : André François-Poncet et les dirigeants nazis." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040042.
Full textAbstract:
Cette recherche diffère des monographies habituelles en présentant un regard neuf sur les dirigeants nazis, celui d’André François-Poncet ambassadeur de France à Berlin de 1931 à 1938. Elle se prolonge par sa réflexion distanciée lorsqu’il devient ambassadeur de France à Rome de 1938 à 1940 puis captif en Allemagne de 1943 à 1945. Comprendre l’atmosphère de la période est sans doute une des clés de l’histoire allemande de 1933 à 1945. François-Poncet fut de ceux qui la perçurent le mieux et le plus précocement ainsi que la menace nazie. Le plan de l’étude comporte trois parties. D’abord le jugement qu’André François-Poncet portait sur les Allemands face au nazisme, dans un deuxième temps celui qu’il portait sur les cercles du pouvoir et enfin celui qu’il portait sur Hitler. Cette étude a un caractère pluridisciplinaire entre la recherche historique et l’analyse psychologique du phénomène qui a suscité une des historiographies les plus importantes et les plus évolutives qui soient : le nazisme. Elle repose sur l’étude qualitative de la production intellectuelle du diplomate au travers de ses dépêches, de ses écrits ainsi que du fonds André François-Poncet conservé aux Archives nationalesDifferent from usual monographs this research deep dives into Nazi leaders’mind from André François-Poncet’ angle, the in Berlin French ambassador from 1931 to 1938. A few years later in Rome again as French ambassador from 1938 to 1940 then in Germany as prisoner from 1943 to 1945 the distance helped him prolong his reflection about Nazism. Atmosphere of the period is probably one of the keys of German 1933-1945 history understanding. François-Poncet was one of those who perceived it as well as the nazi menace the better and the more precociously. This is a three part plan. First François-Poncet’s assessment about Germans, then about the circles of power and ultimately about Hitler himself. This is a multidisciplinary approach involving both historical and psychological analysis about Nazism phenomenon, one of the greatest and evolutive historiography ever. Based on qualitative study of the diplomat’s intellectual output it is carried out from his reports, his written papers and Archives nationales André François-Poncet private fund
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Alcouffe, François. "L’analyse psychologique des dirigeants étrangers par le diplomate : André François-Poncet et les dirigeants nazis." Electronic Thesis or Diss., Paris 4, 2015. http://www.theses.fr/2015PA040042.
Full textAbstract:
Cette recherche diffère des monographies habituelles en présentant un regard neuf sur les dirigeants nazis, celui d’André François-Poncet ambassadeur de France à Berlin de 1931 à 1938. Elle se prolonge par sa réflexion distanciée lorsqu’il devient ambassadeur de France à Rome de 1938 à 1940 puis captif en Allemagne de 1943 à 1945. Comprendre l’atmosphère de la période est sans doute une des clés de l’histoire allemande de 1933 à 1945. François-Poncet fut de ceux qui la perçurent le mieux et le plus précocement ainsi que la menace nazie. Le plan de l’étude comporte trois parties. D’abord le jugement qu’André François-Poncet portait sur les Allemands face au nazisme, dans un deuxième temps celui qu’il portait sur les cercles du pouvoir et enfin celui qu’il portait sur Hitler. Cette étude a un caractère pluridisciplinaire entre la recherche historique et l’analyse psychologique du phénomène qui a suscité une des historiographies les plus importantes et les plus évolutives qui soient : le nazisme. Elle repose sur l’étude qualitative de la production intellectuelle du diplomate au travers de ses dépêches, de ses écrits ainsi que du fonds André François-Poncet conservé aux Archives nationalesDifferent from usual monographs this research deep dives into Nazi leaders’mind from André François-Poncet’ angle, the in Berlin French ambassador from 1931 to 1938. A few years later in Rome again as French ambassador from 1938 to 1940 then in Germany as prisoner from 1943 to 1945 the distance helped him prolong his reflection about Nazism. Atmosphere of the period is probably one of the keys of German 1933-1945 history understanding. François-Poncet was one of those who perceived it as well as the nazi menace the better and the more precociously. This is a three part plan. First François-Poncet’s assessment about Germans, then about the circles of power and ultimately about Hitler himself. This is a multidisciplinary approach involving both historical and psychological analysis about Nazism phenomenon, one of the greatest and evolutive historiography ever. Based on qualitative study of the diplomat’s intellectual output it is carried out from his reports, his written papers and Archives nationales André François-Poncet private fund
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Audhuy, Claire. "Le théâtre dans les camps nazis : réalités, enjeux et postérité." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC029.
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Cette thèse de doctorat est le fruit de trois années de recherches sur le théâtre dans les camps nazis. Ce travail traite principalement des camps en Allemagne, tout en y adjoignant trois exceptions : le ghetto de Theresienstadt, le camp de transit de Westerbork, ainsi que le camp d’Auschwitz-Birkenau. Selon la spécificité de chaque camp, les créations furent officielles ou clandestines, servirent à la propagande nazie ou au contraire œuvrèrent à mener une lutte contre le national-socialisme ou pour la survie des prisonniers. Ces différences de conditions permettent de comprendre pourquoi la création artistique a pu être plus prolifique dans certains lieux. C’est dans ces camps que les prisonniers et déportés, hommes et femmes, appartenant ou non au monde du spectacle, choisirent le théâtre pour s’exprimer, depuis le spectacle Cirkus Conzentrazani donné en août 1933 jusqu’au Kazet Théâtre ou à Zebra, deux troupes concentrationnaires donnant des pièces dans les camps dans les jours suivant la Libération, en 1945. Le travail s’appuie sur de très nombreux témoignages (une trentaine d’interviews réalisées expressément pour cette thèse), des archives (une vingtaine de pièces inédites et traduites pour ce doctorat) et des fonds privés (correspondances, manuscrits). Nous souhaitons tenter de dresser le portrait de ces créations théâtrales, qu’elles aient été imaginées, écrites, jouées, qu’elles soient parties en tournées ou non. L’initiative fut parfois si éloignée de nos attentes classiques du théâtre qu’il est délicat de parler de création théâtrale ou même de théâtre tout simplement. Nous nous intéresserons aux réalités, aux enjeux et à la postérité de ces initiatives créées dans un environnement extrême qui remet en question la possibilité d’existence d’un quelconque théâtre mais aussi la survie même de l’homme. Une initiative de l’extrême qui n’aurait pas dû êtreThis PhD is the result of 3 years of research on theater in the nazi camps. It deals mainly with the plays performed and written in the German camps, and three other camps: the Therensienstadt ghetto, the Westerbork transit camp, and the Auschwitz-Birkenau camp. Depending on the specificity of each camp, the creations were official or clandestine, and either served the nazi propaganda or contributed to the prisoners’ survival and resistance to national-socialism. Those differences in the living conditions enable us to understand why artistic creation was more prolific in some places. In those camps, male and female prisoners and deportees who did or did not belong to the world of show business, chose theater as a means to express themselves as early as August 1933 with the Cirkus Conzentrazani, and also after the war, with the Kazet theater or Zebra, two concentrationary theater troupes which performed plays in the camps during the days that followed the Liberation in 1945.This work explores the information contained in many interviews ( about 30 interviews which were conducted especially for this thesis), archives ( about twenty previously unpublished plays translated for this study), and private funds ( letters, manuscripts). We wish to attempt to draw a portrait of these theatrical creations, whether they were imagined, written, performed in the camps or on tour. The initiative the prisoners took was often so remote from our traditional conception of theater that it is delicate to talk about theatrical creation or even theater. We will focus on what happened, what was at stake and the posterity of these initiatives created in an extreme environment which questions the very possibility of doing theater but also man’s survival. It was an extreme experience which should never have been
Die Vorliegende Doktorarbeit ist das Ergebnis dreijähriger Forschung über das Theater in den Konzentrationslagern des Zweiten Weltkriegs.Dabei geht es hier vor allem um Lager in Deutschland, mit drei Ausnahmen: dem Getto Theresienstadt, dem Durchgangslager Westerbork und dem Lager Auschwitz-Birkenau. Je nach Besonderheit des jeweiligen Lagers fand das künstlerische Schaffen offiziell oder im Verborgenen statt, diente der Nazipropaganda oder trug ganz im Gegenteil zum Kampf gegen den Nationalsozialismus oder zum Überleben der Gefangenen bei. Aufgrund dieser unterschiedlichen Bedingungen versteht man, warum das künstlerische Schaffen an manchen Orten ergiebiger war, an anderen sehr viel sporadischer stattfand. Die Gefangenen und Deportierten, Männer und Frauen, unabhängig davon, ob sie aus der Welt der darstellenden Künste kamen oder nicht, machten in den Lagern Theater, um sich zu äußern, von der Vorstellung 'Cirkus Conzentrazani' im August 1933 an bis zum 'Kazet Theater oder Zebra', zwei KZ-Theatertruppen, die 1945 nach der Befreiung im Lager Stücke aufführten. Die Arbeit stützt sich auf zahlreiche Zeugenaussagen (aus etwa dreißig speziell für diese Doktorarbeit geführten Interviews), auf Archivdokumente (ungefähr 20 unveröffentlichte und für diese Doktorarbeit übersetzte Stücke) und private Bestände (Korrespondenz und Manuskripte). Die vorliegende Arbeit möchte ein Bild von diesen Theaterproduktionen zeichnen, ob sie nur ausgedacht, schriftlich fixiert oder gespielt worden waren oder als solche auf Tournee gingen. Vom satirischen Kabarett bis hin zur ätzend-scharfen Revue über Neuinterpretationen von Klassikern oder autobiographische Stücke haben die in den Lagern schaffenden Künstler in vielen Stilrichtungen gearbeitet. Manchmal war das Unterfangen so weit von unseren klassischen Vorstellungen von Theater entfernt, dass es schwierig ist, von Theaterschaffen oder überhaupt von Theater zu reden. In Verbindung mit Lager hat sich das Theater neu erfunden. Das Hauptaugenmerk dieser Arbeit richtet sich auf die Fakten, Probleme und Nachwirkungen dieser Unternehmungen, die in einem extremen Umfeld entstanden sind, das die Möglichkeit von Theater überhaupt, aber auch das Überleben von Menschen generell in Frage stellt. Unternehmungen in einer unglaublichen Extremsituation. Warum sind Menschen in einem Lager schöpferisch tätig – wie und für wen?
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Johansson, Emil. "Nazister och Amerikaner, propagandistiska tvillingar eller motpoler? : En komparativ studie av propagandistiska uttryck i Die Rothschilds och The Great Dictator." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-36418.
Full textAbstract:
This study aims to examine the differences and similarities between the propaganda used by the United states and the Nazis during the second world war. The object for the analysis are movies, and what expressions of propaganda that can be seen and deciphered. This study will also try to explain why there are similarities and differences between the two countries propaganda. The tool for the analysis of the movies is based on Ralph Donald’s method to interpret propaganda used in Hollywood movies. I have made some modifications to his method in order to apply it on Nazi movies as well. The movies used in this study are the American The Great Dictator and the German Die Rothschild’s. I have narrowed it down to two movies because of the time limit of this study. Furthermore, I have presented a small, but crucial part of the previous research in the field of propaganda to suit and to strengthen my arguments and conclusions in the analysis of the movies. The reason why the research is narrow is because of the immense field of propaganda. The results from this study shows that there are similarities and also differences between the propaganda used by the Americans and the Nazis, and that this in part can be explained by the propagandas purpose to dehumanize the enemy. It can also be explained by the fact that propaganda is used to boost the morale of the Homefront during wartime.
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Pais, Sandra Simões. "Propaganda, da teoria à prática: uma análise da propaganda nazi." Master's thesis, 2012. http://hdl.handle.net/10400.6/2796.
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Esta dissertação de Mestrado apresentada à Universidade da Beira Interior tem como tema central a propaganda política, fazendo também uma abordagem mais específica à propaganda nazi. Pretende ser feita uma análise das características gerais da propaganda e a forma como a propaganda nazi aplicou essas mesmas características, dando origem a uma das campanhas propagandísticas mais importantes da história mundial. A dissertação encontra-se dividida em duas partes.
Na primeira parte será feita uma abordagem geral à temática da propaganda: os tipos de propaganda existentes, as técnicas que devem ser tidas em conta no momento da sua elaboração e os meios de comunicação que deverão ser usados na sua difusão. Esta primeira parte centra-se na análise comparativa dos estudos desenvolvidos por vários autores.
Na segunda parte, especificamente dedicada à propaganda nazi, serão expostas as características específicas da propaganda nazi, fazendo paralelos com o apresentado na primeira parte da dissertação. Serão debatidos os princípios da propaganda nazi, definidos pelo próprio Ministro da Propaganda do Terceiro Reich, Joseph Goebbels, e serão também apresentados os meios de comunicação usados na difusão dos ideais da propaganda do regime liderado por Adolf Hitler.This Master dissertation presented to University of Beira Interior has as main goal the politic propaganda, making a special emphasis in Nazi propaganda. It is pretended to be made an analysis of his main characteristics, in first place and then, it will be explained how the Nazi propaganda used this same characteristics, originating one of the most important propaganda campaigns in world's history. The dissertation is divided in two sections. The first section will present a general description of the propaganda theme: the types of existing propaganda, the techniques required during the elaboration process and the broadcasting media that are used to difuse the information. This first section is focused on the comparative analysis of several authors. On the second section, specifically dedicated to Nazi propaganda, there will be exposed the specific characteristics of it, bringing back the details described on the first section of this dissertation. There will be discussed the principles of Nazi propaganda, defined by the Minister of Propaganda of the Third Reich itself, Joseph Goebbels, and there will be also presented the broadcasting media used on the diffusion of the propaganda ideals of the regime lead by Adolf Hitler.
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ŠIMEČKOVÁ, Anna. "Das Märchen im Propaganda-Film der Nazi-Zeit." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-396505.
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This thesis focuses on a traditional form of fairy tale and its updates as an instrument of Nazi propaganda. The main object of this analysis is a fairy tale as a literary and didactic genre. The diploma thesis consists of a theoretical part and a practical part. The theoretical part introduces general signs of fairy tale genre and main principals of propaganda manipulation in modern history. The practical part focuses on a comparison of selected Grimm brothers 'fairy tales and movie processing of Nazi propaganda. Furthermore, the analysis focuses on didactic intensions, literary and film language and forms of manipulation in a movie as an instrument of propaganda.
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Tereno, António Vitorino Simões. "A propaganda nazi em Portugal na II guerra mundial." Master's thesis, 2007. http://hdl.handle.net/10451/369.
Full textAbstract:
Tese de mestrado em História e Cultura Europeia Contemporâneas apresentada à Faculdade de Letras da Universidade de Lisboa, 2008O fascínio que nos causa os assuntos que envolvem a II Guerra Mundial, pelas emoções de grande intensidade que despertam ainda hoje, quer naqueles que lhe sobreviveram, quer naqueles que a estudam, levou-nos a empreender um levantamento documental no Arquivo Histórico-Diplomático do Ministério dos Negócios Estrangeiros. Aqui, analisámos a troca de telegramas com o Ministério dos Negócios Estrangeiros e os diversos Ministros Plenipotenciários, espalhados pelas Legações Portuguesas no mundo, de modo a detectar inclinações por uma das partes beligerantes e ver até que ponto eram permeáveis à influência da Propaganda Externa. Estudámos a biografia de Joseph Goebbels para melhor compreender os mecanismos de propaganda utilizados e a forma como estes eram utilizados para congregar os elementos do III Reich, cujas cúpulas concorriam entre si pela partilha do Poder. Analisámos as fontes impressas e publicações avulsas, postas a circular pelos Aliados e pelo bloco do Eixo, e quais os argumentos mais utilizados para ganharem na batalha da persuasão. Observámos quais os organismos institucionais que em Portugal, durante o Estado Novo, fizeram uma mímica de algumas das estruturas do Regime Nazi, como a M.P. (Mocidade Portuguesa), a L. P. (Legião Portuguesa) e o próprio S.P.N. (Secretariado de Propaganda Nacional), presidido por António Ferro, embarca numa trilogia com Cottineli Telmo e Duarte Pacheco orquestrada por Oliveira Salazar, numa clara manifestação propagandística de legitimação histórica de poder e de coesão nacional a Exposição do Mundo Português, projectada em 1938 e inaugurada em 1940. Não poderia ficar completo este estudo sem abordar algumas das personalidades influenciadas pela Propaganda Nazi os Nazis Portugueses como o Dr. Alfredo Pimenta, Félix Correia e Metzner Leone, entre outros.
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Rybicki, Frank. "The Rhetorical Dimensions of Radio Propaganda in Nazi Germany, 1933-1945." 2004. http://digital.library.duq.edu/u?/etd,154145.
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The intrinsic power and subtle influence of broadcasting is not readily recognized by the average consumer of mass media. This circumstance has an abusive potential for those wishing to use the electronic media for ulterior motives. Such was the case between 1933 and 1945 when the Nazis unleashed their manipulative mass media campaign that helped facilitate totalitarian control over the German people. This dissertation is the study of its radio component. Special emphasis is placed on the origins, construction, and subsequent implementation of Nazi broadcast rhetoric heard on domestic and short wave radio during the twelve-year period of the Third Reich.
<br>In refusing the notion that a solitary critical perspective can be used in the creation of political consciousness and culture, I admit to using any theoretical insight or concept that sheds light on rhetorical efforts. In the practice of criticism, I believe this is the function of rhetorical theory. Therefore, the following selected theoretical methods are employed:
<br>Crable’s theory of rhetoric as organization is shown as an appropriate means of describing the radio divisions within the bureaucratic Propaganda Ministry.
<br>Bitzer’s work on the significance of the rhetorical situation is applied to the simple act of listening to finely crafted radio programming in Nazi Germany.
<br>The speaker’s link between rhetoric and ideology is explained with McGee’s “ideograph” theory.
<br>The construction of a new language suited to the goals of the Nazis is analyzed by examples of Burke’s unifiers and McGuire’s close textual work on Mein Kampf.
<br>Marcuse divides the language into pragmatic and mythical layers, while the rhetoric and motivations of eight American “radio traitors,” who served as Nazi broadcasters, are investigated and tied into the overall propaganda scheme.
The consequences of this inquiry indicate that the National Socialists, with Dr. Goebbels’ masterful propagandistic insights, tapped into the needs of a post-World War I German society and rebuilt a nationalistic spirit that unfortunately led to war and greater devastation than had been seen some three decades earlier. The new medium of radio, as a major source of information or mis-information, played no small part in this tragic outcome.McAnulty College and Graduate School of Liberal Arts
Communication and Rhetorical Studies
PhD
Dissertation
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Fontana, Stefani. "Permeating the human psyche : the role of emotions in Nazi propaganda." Thesis, 2021. http://hdl.handle.net/1959.7/uws:61995.
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Society is infiltrated with propaganda and its ability to permeate one’s psyche has culminated in profound emotional manipulation. While there is a plethora of existing literature in political science and history regarding the compelling influence of propaganda, the nexus between political propaganda and the history of emotions has not been extensively explored. This project investigates the role of emotions in propaganda manipulation through a historical case study of the National Socialist German Worker’s Party (Nazi) campaign. This was achieved by an analysis of Third Reich propaganda such as film, speeches, education and Hitler Youth alongside a biopsychological approach to the emotional responses of German audiences, as described by first-person and eye-witness accounts. This project focuses specifically on targeted audiences such as those who were disillusioned Germany's instability following WWI; those who had fought in WWI and experienced the sense of humiliation in loss; the politically naïve, anti-Semites and German youth, who were more susceptible to emotional manipulation. By triggering emotions of fear, hatred, national esteem, belonging, humiliation and loss, the Nazi Party were able to garner ardent devotion to the Regime.
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Gouveia, João Miguel Monteiro. "A Propaganda do terceiro Reich: o mecanismo de propagação da ideologia Nazi." Master's thesis, 2022. http://hdl.handle.net/10400.26/40049.
Full textAbstract:
Esta dissertação tem como objetivo analisar e estudar dentro do contexto do
Design e Cultura Visual, o mecanismo de propaganda idealizado pelo Partido
Nazi na Alemanha no antes e durante a Segunda Guerra Mundial. Explicar a
importância que este mecanismo político teve para o nascimento, crescimento
e valorização do partido Nazi e de que forma este foi utilizado para
encobrimento de tantas atrocidades cometidas contra as liberdades humanas.
Este processo de propaganda foi o mais meticuloso envolvendo todos os
meios tecnológicos que haviam disponíveis desde Rádio, cinema, literatura
entre outros e onde a repetição da mensagem e o enaltecimento do líder era
uma constante.
Esta dissertação está separada por duas partes sendo que na primeira será
explorada a propaganda e as suas definições segundo autores tais como Oliver
Thomson, Jacques Ellul e Frederic Bartlett. Serão definidos os tipos de
propaganda existentes, as metodologias e regras que devem ser usadas para a
total eficiência no momento do seu planeamento e execução. Na segunda parte
deste documento será analisada em foco a conceção e utilização da
propaganda pelo Regime Nazi e de que forma Adolf Hitler e o seu ministro
da propaganda Joseph Goebbels para aumentar exponencialmente a
credibilidade do Partido Nazi e a criação do Culto do Líder. Serão dados
exemplos dos cartazes de propaganda e analisados para melhor perceção da
mensagem transmitida.
O poder da imagem, a eficiência na mensagem e o conhecimento da realidade
social é o mais importante para que a propaganda fosse bem-sucedida.
Aliando estes à utilização dos meios de comunicação social e os grupos de
propaganda locais o Partido Nazi difundiu e ganhou vários adeptos por todo
o país dando uma imagem de ser a luz ao fundo do túnel ou a Tábua de
salvação nacional, sendo que a Alemanha neste tempo estava a sofrer com as
repercussões da guerra.
Desde sempre que o tema desta dissertação me despertou o interesse, sempre
tive uma especial admiração sobre a Segunda Grande Guerra, o que devemos
aprender com estes brutais acontecimentos na humanidade e com as suas
repercussões nos tempos de hoje. Este tema não pode ficar esquecido nas
páginas da história.This dissertation aims to analyze and study of Visual Design and Culture, the propaganda mechanism debuted by the Nazi Party in Germany before and during World War II. Explain the importance of this political mechanism had for the birth, growth and valorization of the Nazi party and how it was used to cover up so many atrocities committed against human rights. This propaganda process was the most meticulous and involving all the technological means that had available from Radio, cinema, literature, among others. The repetition of the message and the praise of the leader was a constant. This Dissertation is divided into two parts and in the first it will be explored the advertisement and its definitions according to authors such as Oliver Thomson, Jacques Ellul and Frederic Bartlett. The existing types of advertising, methodologies and rules that should be used for full efficiency at the time of planning and implementation will be defined. In the second part of this document will focus on the design and use of propaganda by the Nazi Regime and how Adolf Hitler and his propaganda minister Joseph Goebbels to exponentially increase the credibility of the Nazi Party and the creation of the Cult of the Leader. Examples of advertising posters will be given and analyzed for better perception of the message transmitted. The power of the image, the efficiency in the message and the knowledge of social reality is the most important for the Propaganda to be successful. Combining these with the use of the media and local propaganda groups the Nazi Party spread and gained several supporters across the country giving an image of being the light at the end of the tunnel or the national lifeline, and Germany at this time was suffering from the repercussions of the war. Since the theme of this dissertation has aroused my interest, I have always had a special admiration about the Second Great War, what we must learn from these brutal events in humanity and with their repercussions in today. This theme cannot be forgotten.
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Miguel, Daniella Bouchabki. "Propaganda no Terceiro Reich : a orquestração do cinema na arquitetura e disseminação nazi." Master's thesis, 2017. http://hdl.handle.net/10400.14/22857.
Full textAbstract:
A propaganda tem como desígnio provocar emoções e desejos, de forma que o público a
quem se destina identifica o emissor como único capaz de atendê-los. Hitler utilizou a
propaganda política como forma de conquistar a massa e conseguir atingir seus objectivos
de conseguir o poder e purificar a raça ariana alemã por meio das ideologias do NSDAP.
Tem-se como objetivo principal desta pesquisa levantar a maneira com a qual o cinema foi
elaborado com o intuito de construir e disseminar os ideais nazis utilizando sua propaganda
durante o Terceiro Reich. Pretende-se nesta dissertação estudar o aparelho propagandístico
cinematográfico nazi e a relação dele com a divulgação dos ideais nazi e com o
condicionamento comportamental dos alemães durante o Terceiro Reich. Para tal utilizouse
técnica de investigação análise de conteúdo numa vertente qualitativa. Nesta dissertação
tornou-se de relevo a revisão dos períodos entre guerras e pós-guerras, visando
compreender as origens dos pensamentos defendidos pela ideologia nazi. Espera-se com
este estudo contribuir para a discussão do poder da propaganda nazi na disseminação da
ideologia hitleriana defendida durante o período de 1933-1945 na Alemanha.The propaganda aims to provoke emotions and desires, so the target audience identifies the issuer as only one capable of serving them. Hitler used the politic propaganda as a way of conquering the masses to achieve their goals of gaining power and purify the Aryan Germany Race through the ideologies of NSDAP. Its the main objective of this research know the way wich cinema was elaborated with the intention to construct and spread the Nazis ideals using its propaganda during the Third Reich.This dissertation intends to study the Nazi cinematographic propagandistic apparatus and his relation with the nazi ideals dissemination and behavioral conditioning of Germans during the Third Reich. For this research purpose was used contente analysis in a qualitative way. In this dissertation became importante the revision of periods between war and postwar, to understand the origns of thoughts defended by Nazi ideology. This study intention is to contribute to discussion about the power of Nazi propaganda in the Hitler’s ideology dissemination defended during the period of 1933-1945 in Germany.
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Klímová, Lenka. "Obraz Šumavy v hraném filmu." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-390417.
Full textAbstract:
The preliminary part of the work Image of the Šumava in feature film deals with the Šumava area, its origin, area, climate, waters, natural disasters, agriculture, industry, crafts and everyday life in Šumava. The aim of the work is to occupy with films which were filmed in Šumava. In this films Šumava plays either the main part, where the directors set the plot of the film in the area of Šumava intentionally or it is just backround to the main plot of the film. There are also some pictures or posters of the films and some cuttings from periodicals in this work. The work is based on contemporary and secondary Czech and foreign literature, Czech and foreign periodicals, internet sources or professional and personal analysis of the films themselves. KEYWORDS Šumava and cinematography, Nazi propaganda, communist propaganda
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Gregory, William. "Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939." 2011. http://hdl.handle.net/10222/14153.
Full textAbstract:
The emulation of Hollywood by German films studios in the 1930s caused
significant problems from an ideological perspective. “Germanized” Hollywood
productions incorporated the exciting elements that made American films so popular in
the Third Reich in an effort to displace them. However, a glorification of consumer
capitalism and political individualism accompanied Californian style assembly-line
filmmaking, even in Nazi Germany. In particular, Hollywood style stardom, western
films and remakes introduced potentially dissonant ideas and messages into Germany’s
public sphere. These films broke the rules and depicted worlds that subtly questioned
Nazi ideology in their depiction of non-Nazi modes of identity. “Germanized”
Hollywood deviated from Propaganda Minister Joseph Goebbels’s attempts to
reconstruct the cinema as a location of indoctrination. The presence of American social
values in German films resulted in a mixed articulation of “Germanness” in the regime’s
preferred medium of propagandistic persuasion.
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Sampaio, Carolina Macedo. "A Fotografia como meio de propaganda e de manipulação de massas no Regime Nazi." Master's thesis, 2017. http://hdl.handle.net/1822/53867.
Full textAbstract:
Dissertação de mestrado em Comunicação, Arte e CulturaEsta investigação terá como propósito debruçar-se sobre a imagem fotográfica e a importância do papel que desempenhou no mundo moderno ao serviço de um dos regimes totalitários mais cruéis da história da humanidade – o nazismo. Assim, o objeto de estudo será a fotografia como imagem mediática, que atinge facilmente as massas da sociedade e incentiva a sua atitude para uma tomada de posição ou atuação, de acordo com os intuitos dos solicitadores dessa imagem. Estas imagens mediáticas, uma vez introduzidas nos meios de comunicação (jornais, rádio, televisão, etc.), abrem novas portas para o mundo e mostram-nos uma realidade ilusória na qual uma dada classe dominante espera que acreditemos e nos identifiquemos com a sua mensagem e valores. Segundo os estudos de Charles W. Mills (1959) acerca da “imaginação sociológica”, a partir do século XIX assistiu-se a uma transformação da sociedade medieval e das “coletividades” numa sociedade na qual os seres humanos livres se tornam “homens de massa”, “sendo que cada um deles está confinado em meios desprovidos de poder”. A fase da História da Humanidade que melhor marca a viragem para esta “sociedade de massas” caracteriza-se pela emergência da “democracia totalitária”. Assim, será pertinente esta análise da fotografia como meio de manipulação de massas no período compreendido entre os anos 1933 e 1945, de maneira a formular uma visão acerca das estruturas de classe, estatutos e poder a uma escala nacional. Nesta linha, o estudo da fotografia como forma de propaganda e manipulação de massas será realizado no contexto da 2a Guerra Mundial, época em que a propaganda foi crucial para a difusão e expansão dos ideais nacionais-socialistas, servindo-se, em grande escala, de imagens bárbaras e chocantes que oprimiam e humilhavam diferentes etnias que se distanciavam dos “arianos”. Cerca de sete anos antes de Hitler chegar ao poder na Alemanha, em 1933, já traçava, no seu livro Mein Kampf (1926), uma estratégia bem delineada que daria a conhecer ao mundo os seus ideais políticos: “Propaganda tries to force a doctrine on the whole people... Propaganda works on the general public from the standpoint of an idea and makes them ripe for the victory of this idea." A propaganda terá sido uma das armas mais fortes e eficazes utilizada pelos nazis durante a 2a Grande Guerra, não só aliciando as massas a seu favor como, também, reforçando o seu poder perante o inimigo. Desta forma, as imagens propagandísticas utilizadas pelos nazis tinham o poder de “transformar uma comunidade de públicos numa massa manipulada e adormecida” (Mills, como referido em Campenhoudt, 2003, p. 280).
This investigation leans onto the photographic image and its importante role on the modern world, lending service to one of the cruelest totalitarian regime - the nazism. Therefore, the main subject will the photograaphy as media that easily reaches the masses and improves its positioning and acting according to the purpose of the image representatives. These mediatic images once introduced to the media (newspapers, radio, television, etc.) open new doors to the world and show us an ilusory reality in which a dominating group expect us to believe and relate with the message and the standards. According to Charles W. Mills’ studies about the “sociological imagination” (1959) in the XIX century there was the transformation of the medieval society and the “collectivities” into a society where the free Man becomes “the masses”, “which each one of them is confined to a life deprived of power”. There’s a period in the Human History that better marks this twist of “society of masses” caracterized by the emergency of a “totalitarian democracy”. So it is apropos the analysis of the photography as a way of manpulating masses between 1933 and 1945, to create a vision about classes, status and power in a national scale. The study of photography as a way of advertisement and manipulation of the masses will be conceived into the II World War context, a time when propaganda was crucial for the diffusion and expansion of the national socialists’ ideals, taking advantage, in a large scale, of the barbarian and shocking images that opressed and humilliate diferente ethnic groups who were unlike the “arians”. About seven years before Hitler came to power in Germany in 1933 he already traced in his book Mein Kampf (1926) a well planned strategy that would let the world know about his political ideals. “Propaganda tries to force a doctrine on the whole people... Propaganda works on the general public from the standpoint of an idea and makes them ripe for the victory of this idea." Propaganda must have been one of the strongest and most effective weapon used by the Nazis during the II World War, not only they enticed the masses to their favor but they increased the power against the enemy. With that being said, the advertised images used by the Nazis had the power to “transform a public community into manipulated and numb masses” (Mills, in Campenhoudt, 2003, p. 280).
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Fonseca, Mara Natal. "A Legação da Alemanha e a propaganda nazi em Portugal - Boletim Político e Boletim Semanal (1943)." Master's thesis, 2020. https://hdl.handle.net/10216/131775.
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Fonseca, Mara Natal. "A Legação da Alemanha e a propaganda nazi em Portugal - Boletim Político e Boletim Semanal (1943)." Dissertação, 2020. https://hdl.handle.net/10216/131775.
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Havlíčková, Michaela. "Zobrazování žen v českém filmu v období diktatur." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398141.
Full textAbstract:
The thesis about The Portrayal of Women in Czech Film in Times of Dictatorship is examining the female characters in the movies influenced by nazi and communist propaganda. The main objective is to find out the similarities and differences that are typical for the Czech movies of those times. In the case of the movies influenced by communist propaganda and ideology, this thesis is examining those made in the period between 1948-1956. In order to analyse female characters, 15 movies were chosen for this task after making sure they fulfill the condition of woman playing the main of one of the main roles. The theoretical part of this work is dedicated to the anchoring of the topic, therefore there are sections about propaganda, nazi and communist propaganda, development of Czech cinematography and the role of women in nazi and communist ideology. For the purposes of analyses in practical part of the thesis, I use Jens' Eder model - The Clock of Character.
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Matos, Mário Manuel Lima de. "As viagens marítimas da organização nazi Kraft durch Freude a Portugal (1935-1939) : turismo, literatura e propaganda." Master's thesis, 1996. http://hdl.handle.net/10362/20433.
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Sousa, Melanie de Oliveira e. "O turismo e os Jogos Olímpicos de 1936 : imagens e representações durante a Alemanha nazi." Master's thesis, 2019. http://hdl.handle.net/10400.26/35736.
Full textAbstract:
A imagem de um determinado destino turístico pode ser criada por qualquer indivíduo e é um fator crucial para os turistas decidirem para onde querem viajar (Cooper et al, Echtner e Richie, Frochot e Legohére, Kim e Richardson e Kozak, mencionados por El Kadhi 2009, p.14). Deste modo, entende-se o porquê de os destinos turísticos criarem uma imagem própria, uma vez que é uma das principais maneiras de atrair turistas. Com o início da I Guerra Mundial, o turismo tornou-se raro ou quase inexistente em todos os países, mas finda a guerra, e numa Europa que passava por algumas transformações culturais, a atividade voltou a ser tida em consideração. Em 1933, o partido nazi subiu ao poder na Alemanha e, já antes da II Guerra Mundial, Adolf Hitler tinha a consciência da importância do turismo não só para desenvolver a economia do país, como também para a propaganda deste novo regime e na transmissão da imagem de uma “nova” Alemanha. A ideologia de Hitler desejava que o turismo e os Jogos Olímpicos de 1936 na Alemanha veiculassem novas interpretações históricas, que estivessem, claramente, relacionadas com o regime nazi. O regime queria que os turistas tivessem uma determinada imagem da Alemanha, como sendo um país que estava a emergir do fracasso da I Guerra Mundial.
A presente investigação visa analisar de que maneira Hitler utilizou o turismo e os Jogos Olímpicos de 1936 para apagar o passado alemão no pós-I Guerra Mundial e ajudar a divulgar a “nova” Alemanha de Hitler.The image of a certain destination can be created by any individual. The image destination is a crucial factor so that tourists can decide where to travel (Cooper et al, Echtner e Richie, Frochot e Legohére, Kim e Richardson e Kozak, as mentioned by El Kadhi 2009, p.14). So, it is easy to understand why many destinations develop an image of themselves, so that they can attract tourists to visit their countries. Tourism was rare in every countries during the First World War, but when it ended the activity was taken in concern again. In 1933, the Nazi party rose to power and even before the Second World War, Adolf Hitler was aware of the importance of tourism, not only for the economy of the country, but also for the propaganda of the new regime and for the transmission of an image of a “new” Germany. Hitler’s ideology wanted that tourism and the Olympic Games in 1936 in Germany would be based on new history interpretations and new attractions, that were related with the Nazi regime. The regime wanted tourists to have a certain image of Germany and this present dissertation studies how Hitler used tourism and the Olympic Games in 1936 to erase the past of Germany in the First World War and to help spreading the “new” Germany of Hitler.
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Gregorová, Vanda. "Pojetí Žida v českém filmu v období druhé republiky a protektorátu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-353360.
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The thesis "Conception of Jew in the Czech film during the Second Republic and the Protectorate" deals with ways of displaying characters of Jewish figures in the film in the period. It deals with Czech films made between the years 1939-1945, which appears Jewish character, then their analysis and evaluation of whether the film antisemitic sting occurred or not. The work focuses primarily on Czech film production, but also mentions characteristically related films made in Nazi Germany. The work uses for its purposes also newspapers of the mentioned period and compile the available literature. Powered by TCPDF (www.tcpdf.org)
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Cvachovcová, Klára. "Pravda vítězí 1938 protičeskoslovenské vysílání vídeňského rozhlasu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350555.
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This thesis concentrates on 1938 radio broadcast Pravda vítězí (The Truth Will Win), broadcasted from Vienna in both Czech and Slovak languages in the two months preceding and following the signing of the Munich agreement. Its theoretical part follows the genesis of the two broadcasts, the personalities involved and also the connection between Pravda vítězí and Vlajka, the infamous Czech fascist movement. In the practical part, Nazi propaganda themes are being analyzed in both broadcasts during October 1938. Main focus is on the campaigns against president Beneš, against freemasonry and bolshevism, pro-German campaign and antisemitism. In the Slovak language broadcast, anti-Czech campaign was a significant part of the Nazi propaganda, along with the support of Slovak separatism. Comparison of the ideological focus and goals of both broadcasts is supported by numerous quotations. In the final part, the thesis offers a brief look at the reactions to the broadcasts. Also, it attempts to evaluate the broadcasts' possible effects on both Czech and Slovak audience in the light of its primary goal - the disintegration of Czechoslovakia.
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Gaudreau-Lalande, Samuel. "Les mécanismes de la transformation du réel dans la propagande photographique nazie : analyse d'un album illustré du congrès du parti nazi à Nuremberg en 1933." Mémoire, 2011. http://www.archipel.uqam.ca/4971/1/M12493.pdf.
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Lors de la prise du pouvoir par le régime nazi en janvier 1933, la photographie joue déjà, en Allemagne, un rôle de premier plan dans les médias de masse, tant dans l'information que la publicité. En l'utilisant pour mener sa propagande, le régime montre qu'il la croit capable de transformer le réel, puisqu'il attend d'elle des effets immédiats sur le peuple. C'est à ce pouvoir d'influence que s'intéresse ce mémoire, autant dans les enjeux théoriques qui lui sont sous-jacents que dans les mécanismes concrets utilisés pour le mettre en œuvre, à partir de l'exemple particulier d'un album de propagande photographique nazie. Une revue de la littérature permet d'abord d'assurer la possibilité théorique de la transformation du réel par l'image. Les thèses de différents auteurs permettent de dégager trois moments, non exclusifs et complémentaires, où les images peuvent exercer leur pouvoir d'influence sur un individu : en transformant la manière dont il perçoit le monde, en changeant la manière dont il interprète ces données du réel et en produisant une réalité nouvelle. L'étude de la photographie sous la République de Weimar permet ensuite de comprendre le milieu d'où proviennent les usages que font les nazis du médium. La description des discours d'avant-garde ainsi que des pratiques du photojournalisme et de la publicité montrent que les acteurs de l'époque sont conscients de la capacité de la photographie de transformer le réel. L'analyse d'un album de propagande photographique nazie s'attarde enfin aux mécanismes de persuasion proprement dits, en dégageant des types et des motifs iconographiques liés à des stratégies visuelles. L'observation montre que la propagande nazie, plutôt qu'en rupture, se situe dans la continuité des recherches photographiques en cours sous la démocratie. Le régime nazi, sous cet aspect, participe ainsi avant tout de la modernité technique de son époque.
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MOTS-CLÉS DE L’AUTEUR : Photographie, Théorie de la photographie, Photojournalisme, National-socialisme, Propagande nazie, Reichsparteitag.
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Matunová, Alena. "Rozhlasové vysílání pro německou menšinu v českých zemích do roku 1945 s důrazem na činnost mělnického vysílače." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358029.
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The thesis Radio Broadcasting for the German Minority in the Czech Countries until the Year 1945, with the Example of the Melnik Broadcast Transmitter describes the radio broadcasting for the German people living in Bohemia and Moravia in the period from its formation until the year 1945. It concentrates on the radio broadcaster in Melnik that was built in 1938 with the purpose of giving a special broadcasting to the German minority living in the Czech countries. The analytical part is divided into three sections: broadcasting for the Germans in the First and Second Republic and Protectorate of Bohemia and Moravia. Another chapter focuses on the broadcasting from The Soviet Union (especially on the broadcaster Sudetendeutscher Freiheitssender) and Great Britain. It focuses on the contrasting access to the radio broadcasting for this group from the side of the Czech political representation and from the side of the German state. In the Czechoslovakia, there was this broadcasting in hands of the private institution Urania. The Sudeten Germans have focused their attention to the German stations, which were offering them more popular program. This study describes the influence of the German propaganda on the Sudeten Germans behaviour and the reaction of the Czechoslovakian Broadcasting Company. It...