Relevant bibliographies by topics / Nazis au cinéma

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Nazis au cinéma'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Nazis au cinéma"

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Miraglia, Valentina. "Le cinéma de propagande nazie, trompette de l’apocalypse : Das Wort aus Stein (1939)." Frontières 25, no. 2 (2014): 121–33. http://dx.doi.org/10.7202/1024943ar.

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Das Wort aus Stein de Kurt Rupli est plus qu’un film d’anticipation. Ce moyen métrage institutionnel produit par la UFA en 1939 est l’expression d’une démesure architecturale qui fait appel au cinéma pour donner réalité aux décors de l’idéologie technocratique nazie. Das Wort aus Stein montre la nouvelle Allemagne telle qu’elle s’imagine avant d’être rasée par les bombardements ennemis qui la menacent déjà au moment du tournage. Une avalanche de pierres, présage prémonitoire du désastre, sert de générique aux projets d’Hitler. À travers l’analyse de certains passages du film, des photos de tou
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Aslangul, Claire. "Guerre et cinéma à l’époque nazie." Revue Historique des Armées 252, no. 3 (2008): 16–26. http://dx.doi.org/10.3917/rha.252.0016.

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Les dirigeants nazis ont reconnu précocement que le cinéma était « l’un des moyens de manipulation des masses les plus modernes » (Goebbels, 1934). Des moyens considérables ont alors été réquisitionnés pour soutenir la politique expansionniste de Hitler et remporter également la « guerre culturelle ». Au-delà de la diffusion de valeurs martiales, les images filmiques devaient aussi divertir et faire oublier les rigueurs du conflit. Films historiques et de fiction, documentaires, « actualités », dessins animés, publicités : avec des stratégies de communication extrêmement raffinées, le régime a
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Lindeperg, Sylvie. "Itinéraires : le cinéma et la photographie à l’épreuve de l’histoire." Cinémas 14, no. 2-3 (2005): 191–210. http://dx.doi.org/10.7202/026009ar.

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Résumé Sous le signe de l’écriture de l’histoire, l’auteure revisite ici ses travaux successifs consacrés au cinéma. Elle évoque d’abord la question des usages cinématographiques du passé à travers le concept de « film palimpseste », puis revient sur deux axes structurants de l’un de ses ouvrages : les modes d’écriture de l’histoire par les actualités filmées consacrées à la Libération, et les enjeux de la migration et du réemploi des séquences d’archives tournées par les Alliés lors de la libération des camps nazis. Partant enfin de l’exemple de la photographie dite de la rafle du Vel’ d’Hiv,
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Oket, 1Média Stévha, and Séverin Ngakosso. "Sceptre des spectres lors de la shoah au sein du roman lazareen." Annales de la Faculté des Lettres, Arts et Sciences Humaines 13, no. 1 (2025): 75–91. https://doi.org/10.55595/d5r6xk91.

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:Pour presque tous nos contemporains lettrés : poètes, dramaturges, romanciers, essayistes, autobiographes, historiens, acteurs politiques comme stars de cinéma ; le terme Shoah évoque le drame de six millions de Juifs écrasés sous la botte allemande pendant la Seconde Guerre mondiale. Cette définition est avérée, univoque et ne souffre d’aucune contestation. En d’autres termes, il y a deux camps diamétralement opposés quand on évoque ce plus grand génocide que le monde a connu jusqu’ici : d’un côté, les bourreaux antisémites au pouvoir ; de l’autre, les souffre-douleur juifs généralement parq
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Kapczynski, J. "Nazi Film Melodrama * Screen Nazis: Cinema, History and Democracy." Screen 56, no. 2 (2015): 289–93. http://dx.doi.org/10.1093/screen/hjv026.

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Belov, Sergey I. "REHABILITATION OF THE NAZI REGIME, ITS SUPPORTERS AND ACCOMPLICES IN THE EUROPEAN CINEMATOGRAPHY: CURRENT STATE AND NEW TRENDS IN DEVELOPING MEMORY POLICIES." RUDN Journal of Political Science 21, no. 1 (2019): 110–17. http://dx.doi.org/10.22363/2313-1438-2019-21-1-110-117.

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The presented study is dedicated to the rehabilitation of the Nazi regime, its supporters and accomplices in modern cinema as part of the memory policy. The relevance of this work is determined by the growing influence of ultra-right politicians in a number of economically developed countries, an increase in the number of memorial wars due to the rehabilitation of Nazism accomplices and the spread of right-wing radicalism in the United States and European Union states. The aim of the study is the evaluation of the rehabilitation practices of Nazism and its supporters in new motion pictures, wh
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Miller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 1 (2007): 69. http://dx.doi.org/10.1080/03612759.2007.10527161.

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Miller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 2 (2008): 69. http://dx.doi.org/10.1080/03612759.2008.10527194.

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Claus, Horst. "Nazis and the Cinema." Historical Journal of Film, Radio and Television 30, no. 1 (2010): 123–25. http://dx.doi.org/10.1080/01439680903577383.

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Hake, Sabine. ":Nazis and the Cinema." American Historical Review 114, no. 1 (2009): 231. http://dx.doi.org/10.1086/ahr.114.1.231.

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Dissertations / Theses on the topic "Nazis au cinéma"

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Frigeri, Renata Aparecida. "O nazismo vai ao cinema : construção identitária na obra de Leni Riefenstahl /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154083.

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Submitted by Renata Aparecida Frigeri (renatafrigeri@yahoo.com.br) on 2018-05-24T13:22:24Z No. of bitstreams: 1 FRIGERI_Renata_FINAL.pdf: 22629717 bytes, checksum: 8a7ffebc0b9a3d026126967029e3febf (MD5)<br>Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-24T18:45:28Z (GMT) No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736e6296d42a367383 (MD5)<br>Made available in DSpace on 2018-05-24T18:45:28Z (GMT). No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736
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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 atte
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Sycher, Alexander. "The Nazi Soldier in German Cinema, 1933-1945." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428959799.

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Ascheid, Antje. "Hitler's heroines : stardom and womanhood in nazi cinema /." Philadelphia : Temple University Press, 2003. http://catalogue.bnf.fr/ark:/12148/cb39925339n.

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Aube, Christine Lokotsch. "The Enduring Villain: Germans as Nazi Stereotypes in American Cinema." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626154.

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Landry, Olivia Ryan. "The female corpse: sacrificed bodies of Enlightenment tragedy and Nazi cinema." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22047.

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This thesis approaches the topic of feminine representation through comparative readings of two eighteenth-century Enlightenment tragedies, G. E. Lessing's Emilia Galotti (1772) and Charlotte von Stein's Dido (1794), as well as two twentieth-century Nazi films, Leni Riefenstahl's The Blue Light (1932) and Veit Harlan's Jew Süss (1940). In addition to the obvious diachronic dimension of this project, my framework for examination is thematically structured. Drawing on numerous theories and secondary sources, I will investigate these texts under three specific topics – namely, female sexuality,
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Fleury-Vilatte, Béatrice. "L'epoque nazie dans le cinema allemand d'apres-guerre : culpabilite et parcours de l'oubli." Paris 1, 1986. http://www.theses.fr/1986PA010622.

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En analysant les films allemands qui, depuis 1945, ont choisi le nazisme comme sujet de narration, ce travail propose une confrontation de leur contenu avec la societe qui les a emis. Ainsi, les films de chaque epoque traitent le nazisme et la culpabilite qui lui est inherente selon des modalites qui dependent etroitement de la politique interieure et exterieure de l'allemagne. Par deux fois, et a des epoques differentes, les films qui traitent le sujet l'ont elude au profit d'une accusation envers des personnages etrangers, egalement mis en accusation par l'opinion de l'epoque: le russe dans
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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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Rigotti, Gabriela Fiorin. "A ciranda do pertencimento em "O triunfo da vontade" de Leni Riefenstahl." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253303.

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Orientador: Carlos Eduardo Albuquerque Miranda<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-06T10:32:41Z (GMT). No. of bitstreams: 1 Rigotti_GabrielaFiorin_M.pdf: 2107730 bytes, checksum: 2aa7bd1ae17611818aa8847b4dad52b4 (MD5) Previous issue date: 2006<br>Resumo: Esta é uma proposta de investigação sobre a construção de uma narrativa cinematográfica em consagração ao nacionalismo no filme "O Triunfo da Vontade" de Leni Riefenstahl. Nesta busca, procura-se compreender a construção de imagens alegóricas que, inferid
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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 ma
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Books on the topic "Nazis au cinéma"

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Camarade, Hélène, and Claire Kaiser. Le national-socialisme dans le cinéma allemand contemporain. Presses Universitaires du Septentrion, 2013.

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Richler, Mordecai. St. Urbain's horseman: A novel. Penguin Books, 1992.

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Richler, Mordecai. Der Traum des Jakob Hersch: Roman. Fischer Taschenbuch Verlag, 1996.

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Richler, Mordecai. St. Urbain's horseman. McClelland & Stewart, 1989.

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Richler, Mordecai. Le cavalier de Saint-Urbain. Buchet/Chastel, 2005.

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Richler, Mordecai. St. Urbain's horseman: A novel. McClelland and Stewart, 1985.

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Richler, Mordecai. St. Urbain's horseman. Vintage, 1992.

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Ascheid, Antje. Hitler's heroines: Stardom and womanhood in Nazi cinema. Temple University Press, 2002.

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Rentschler, Eric. The ministry of illusion: Nazi cinema and its afterlife. Harvard University Press, 1996.

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J, Reimer Carol, ed. Nazi-retro film: How German narrative cinema remembers the past. Twayne, 1992.

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Book chapters on the topic "Nazis au cinéma"

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Mühlenfeld, Daniel. "Cinema, Art, and Music." In A Companion to Nazi Germany. John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch23.

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Nazario, Luiz. "Nazi Film Politics in Brazil, 1933–42." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_6.

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Grist, Leighton. "Skinheads, Racism, (Neo-)Nazism and the Family." In Fascism and Millennial American Cinema. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-59566-9_2.

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Zakai, Avihu. "Siegfried Kracauer’s From Caligari to Hitler: Weimar Cinema as Pandora’s Box." In Jewish Exiles’ Psychological Interpretations of Nazism. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54070-8_4.

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Rubenfeld, Sheldon, and Daniel P. Sulmasy. "Physician-Assisted Suicide, Euthanasia, and Bioethics in Nazi and Contemporary Cinema." In The International Library of Bioethics. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-01987-6_10.

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AbstractToday, physician-assisted suicide and/or euthanasia are legal in several European countries, Canada, several jurisdictions in the United States and Australia, and may soon become legal in many more jurisdictions. While traditional Hippocratic and religious medical ethics have long opposed these practices, contemporary culture and politics have slowly weakened opposition to physician-assisted suicide and euthanasia. Our chapter examines how assisted suicide and euthanasia have been presented in cinema, one of the most powerful influences on culture, by Nazi propagandists during the Germ
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Welch, David, and Roel Vande Winkel. "Europe’s New Hollywood? The German Film Industry Under Nazi Rule, 1933–45." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_1.

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Schiweck, Ingo. "Dutch-German Film Relations under German Pressure and Nazi Occupation, 1933–45." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_15.

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Sørenssen, Bjørn. "From Will to Reality — Norwegian Film during the Nazi Occupation, 1940–45." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_16.

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von Dassanowsky, Robert. "Between Resistance and Collaboration: Austrian Cinema and Nazism Before and During the Annexation, 1933–45." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_4.

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Haver, Gianni. "Film Propaganda and the Balance between Neutrality and Alignment: Nazi Films in Switzerland, 1933–45." In Cinema and the Swastika. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_21.

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Conference papers on the topic "Nazis au cinéma"

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Kalchenko, Valeriya. "INFLUENCE OF MODERN MASS MEDIA ON MORAL AND SOCIAL COGNITION: HOW KREMLIN'S PROPAGANDA BECAME ONE OF THE MAIN CAUSES OF THE RUSSIA-UKRAINE WAR, 2014-2024." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/s07/41.

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Propaganda was historically a neutral descriptive term; it was used by playwrights in ancient Greece to express the act of promoting political and religious beliefs. In the 19th century, with the birth of the press, cinema and radio, propaganda transformed into a tool destined to shape people�s beliefs and behaviours. It is generally biased, misleading, or even false to promote a specific agenda or point of view. Especially in Europe, in the first half of the 20th century, propaganda was used by European dictatorial regimes: Nazism, Fascism and Communism for popular consensus building and poli
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Komissarov, R. A. "The Cultural Artefact in Confronting Totalitarianism. A Book on World War II in Contemporary Cinema." In Berkov Readings. Book Culture in the Context of International Contacts. Scientific and Publishing Center "Science" of the Russian Academy of Sciences, 2025. https://doi.org/10.52929/9785605111085_94.

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The article considers how the image of books appear in contemporary foreign cinema devoted to World War II and the Nazi regime in Germany, and how antagonism between book culture and totalitarianism is conveyed.
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Reports on the topic "Nazis au cinéma"

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Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, 2022. http://dx.doi.org/10.21248/gups.70888.

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The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological
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