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Journal articles on the topic 'Nazis au cinéma'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Von Moltke, Johannes. "Nazi Cinema Revisited." Film Quarterly 61, no. 1 (2007): 68–72. http://dx.doi.org/10.1525/fq.2007.61.1.68.

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12

Rothberg, Michael. "In the Nazi Cinema." Wasafiri 24, no. 1 (2009): 13–20. http://dx.doi.org/10.1080/02690050802588984.

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13

Fux, Jacques. "Cinema nazi, faction e contemporaneidade." Aletria: Revista de Estudos de Literatura 23, no. 3 (2013): 199–209. http://dx.doi.org/10.17851/2317-2096.23.3.199-209.

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Parte do sucesso da empreitada nazista durante a Segunda Guerra se deveu, indubitavelmente, à utilização do cinema seja como Propaganda Nazi seja como expressão artística de um desejo, talvez reprimido e velado, pela Beleza estética. Poderíamos pensar, também, que a contemporaneidade encontra-se afastada de alguns dos princípios nazistas, como os programas de eugenia, ou da busca de uma raça superior ariana. No entanto, encontramos ainda alguma presença artística da Alemanha nazista em diversas partes da nossa sociedade, sobretudo nas produções televisivas e cinematográficas recém-produzidas s

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14

McCormick, Rick. "Screen Nazis: Cinema, History, and Democracy by Sabine Hake." German Studies Review 38, no. 1 (2015): 213–15. http://dx.doi.org/10.1353/gsr.2015.0008.

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15

Le Roy, Éric. "Les Corrupteurs, ou le cinéma français à l'heure nazie." Revue d’Histoire de la Shoah N° 163, no. 2 (1998): 203–26. http://dx.doi.org/10.3917/rhsho1.163.0204.

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16

Witte, Karsten. "The Indivisible Legacy of Nazi Cinema." New German Critique, no. 74 (1998): 23. http://dx.doi.org/10.2307/488488.

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17

Jambrešić Kirin, Renata. "Is There the Holocaust without a Film Music? Analyzing a Croatian and a Serbian Film about the Holocaust." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 181–95. http://dx.doi.org/10.14746/pss.2017.12.12.

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This article implies that the impact of cinematic fiction on the capability to imagine and comprehend the trauma of the Holocaust is formed at the intersection of aesthetic, moral, social and ideological frames in particular society. Cinema had a special role for the unification of the Holocaust memory since 1990. In the post-Yugoslav cinema two feature films (Lea and Darija, 2011 and When Day Breaks, 2012) represent the cinematic paradigm shift in dealing with the difficult heritage of the Holocaust in Croatia and Serbia following the break of communism. Although they suffer from apolitical a

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18

Jong-Ho Pih. "Nazi Cinema and the Utopia of Technology." Contemporary Film Studies 14, no. 3 (2018): 115–43. http://dx.doi.org/10.15751/cofis.2018.14.3.115.

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19

Ludewig, Alexandra. "Screening the East, Probing the Past: The Baltic Sea in Contemporary German Cinema." German Politics and Society 22, no. 2 (2004): 27–48. http://dx.doi.org/10.3167/104503004782353276.

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Since the fall of the Berlin Wall, unification, and the subsequent reinventionof the nation, German filmmakers have revisited theircountry’s cinematic traditions with a view to placing themselves creativelyin the tradition of its intellectual and artistic heritage. One ofthe legacies that has served as a point of a new departure has beenthe Heimatfilm, or homeland film. As a genre it is renowned for itsrestorative stance, as it often features dialect and the renunciation ofcurrent topicality, advocates traditional gender roles, has antimodernovertones of rural, pastoral, often alpine, images,

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20

Rogowski, Christian, and Antje Ascheid. "Hitler's Heroines. Stardom and Womanhood in Nazi Cinema." German Studies Review 27, no. 3 (2004): 642. http://dx.doi.org/10.2307/4141015.

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21

Crips, Liliane, Nicolas Férard, and Nicole Gabriel. "Le cinéma nazi : archives de guerres, archives dispersées par la guerre." Écrire l'histoire, no. 13-14 (October 10, 2014): 118–28. http://dx.doi.org/10.4000/elh.483.

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22

Singer, Claude. "Comment le cinéma nazi falsifiait l'image des ghettos juifs (1939-1944)." Diasporas 4, no. 1 (2004): 55–69. http://dx.doi.org/10.3406/diasp.2004.931.

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23

Esbenshade, Richard S. "Jews, Nazis, and the Cinema of Hungary: The Tragedy of Success, 1929–44." Hungarian Studies Review 46-47, no. 1 (2020): 124–29. http://dx.doi.org/10.5325/hungarianstud.46-47.1.0124.

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24

James, Chapman. "Nazis and the Cinema. By Susan Tegel. Hambledon Continuum. 2007. xi + 324pp. £16.00." Annual Bulletin of Historical Literature 96, no. 1 (2012): 107–8. http://dx.doi.org/10.1111/j.1467-8314.2012.01263.x.

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25

Gemunden, Gerd, and Eric Rentschler. "The Ministry of Illusion: Nazi Cinema and Its Afterlife." German Quarterly 70, no. 4 (1997): 402. http://dx.doi.org/10.2307/408076.

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26

Baird, Jay W., and Eric Rentschler. "The Ministry of Illusion: Nazi Cinema and Its Afterlife." American Historical Review 103, no. 2 (1998): 545. http://dx.doi.org/10.2307/2649851.

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27

Henkel, Brook. "Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television." New German Critique 49, no. 2 (2022): 161–86. http://dx.doi.org/10.1215/0094033x-9734861.

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Fritz Lang’s film The Thousand Eyes of Dr. Mabuse (1960) stands out among West German cinema of the Adenauer years for its attention to urban space and the afterlife of Nazism in the postwar era. This article rereads the film as an incisive representation of the new mobilities and historically layered spaces and infrastructure of 1950s Berlin, a representation informed by Lang’s exile experience and Hollywood film noir. By newly contextualizing the film in relation to the history of Nazi television, as well as Siegfried Kracauer’s and Theodor W. Adorno’s early postwar writings, the article rec

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28

Bytwerk, Randall L. "Jo Fox.Film Propaganda in Britain and Nazi Germany: World War II Cinema.:Film Propaganda in Britain and Nazi Germany: World War II Cinema." American Historical Review 113, no. 2 (2008): 567–68. http://dx.doi.org/10.1086/ahr.113.2.567.

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29

Ritchie, J. M., and Linda Schulte-Sasse. "Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema." Modern Language Review 94, no. 1 (1999): 262. http://dx.doi.org/10.2307/3736098.

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30

Tapper, Michael. "Nazisploitation! The Nazi Image in Low-Brow Cinema and Culture." Historical Journal of Film, Radio and Television 33, no. 1 (2013): 176–78. http://dx.doi.org/10.1080/01439685.2013.764732.

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31

Petley, J. "Eric Rentschler, The Ministry of Illusion: Nazi Cinema and its Afterlife; Linda Schulte-Sasse, Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema." Screen 38, no. 3 (1997): 287–95. http://dx.doi.org/10.1093/screen/38.3.287.

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32

Pithon, Remy, and Christian Delage. "La vision nazie de l'histoire. Le cinema documentaire du Troisieme Reich." Vingtième Siècle. Revue d'histoire, no. 24 (October 1989): 158. http://dx.doi.org/10.2307/3769194.

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33

Horak, Jan-Christopher. "The Ministry of Illusion: Nazi Cinema and Its Afterlife, and: Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 16, no. 2 (1997): 138–42. http://dx.doi.org/10.1353/sho.1997.0109.

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34

Laurien, I. "Germany: facing the Nazi past today." Literator 30, no. 3 (2009): 93–114. http://dx.doi.org/10.4102/lit.v30i3.89.

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This article gives an overview of the changing debate on National Socialism and the question of guilt in German society. Memory had a different meaning in different generations, shaping distinct phases of dealing with the past, from silence and avoidance to sceptical debate, from painful “Vergangenheitsbewältigung” to a general memory of suffering. In present-day Germany, memory as collective personal memory has faded away. At the same time, literature has lost its role as a main medium to mass media like cinema and television. Furthermore, memory has become fragmented. Large groups of members

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35

Ramé López, Jesús, and Caterina Cucinotta. "La materia de la propaganda política en el diseño de vestuario de Helena Roque Gameiro: “As Pupilas do Senhor Reitor” (1935), drama de costumbres fílmico." Revista Portuguesa de História 55 (September 30, 2024): 285–304. http://dx.doi.org/10.14195/0870-4147_55_11.

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As Pupilas do Senhor Reitor (José Leitão de Barros, 1935) is part of a series of films that linked the rural world to political propaganda for the Portuguese nation idea Construction.Ruralism, as a tool for constructing people identity, has played an important role in the history of cinema, to the point of giving rise, for example, to western. The exaltation of rural life became a vein for expressing, in the form of propaganda, the pillars of blood and land in Nazism and Fascism. In Spain, even a genre, drama rural, arises, which is paralleled by the Portuguese drama de costumbres.In this sens

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36

Daffner, Carola. "Remapping the World in Film: Fiction and Truth in Nazi Cinema." New Readings 11 (January 1, 2011): 37. http://dx.doi.org/10.18573/newreadings.75.

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37

Petro, Patrice. "Nazi Cinema at the Intersection of the Classical and the Popular." New German Critique, no. 74 (1998): 41. http://dx.doi.org/10.2307/488491.

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38

STARKMAN, RUTH A. "Peter Cohen's Architektur des Untergangs: Nazi Aesthetics and Recent German Cinema." Seminar: A Journal of Germanic Studies 33, no. 4 (1997): 338–55. http://dx.doi.org/10.3138/sem.v33.4.338.

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39

Halas, Matus. "Love your neighbor: Nazi soldiers and Femmes Fatales in Czech cinema." Social & Cultural Geography 20, no. 2 (2017): 242–64. http://dx.doi.org/10.1080/14649365.2017.1356363.

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40

Zucker, Carole. ": The Ministry of Illusion: Nazi Cinema and Its Afterlife . Eric Rentschler ." Film Quarterly 52, no. 1 (1998): 83–85. http://dx.doi.org/10.1525/fq.1998.52.1.04a00500.

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41

Haywood, Geoff. "Nazis and the Cinema. By Susan Tegel. (London, England: Hambledon Continuum, 2007. Pp. x, 324. $36.95.)." Historian 72, no. 1 (2010): 235–37. http://dx.doi.org/10.1111/j.1540-6563.2009.00260_65.x.

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42

Killen, Andreas. "What Is an Enlightenment Film?Cinema and the Rhetoric of Social Hygiene in Interwar Germany." Social Science History 39, no. 1 (2015): 107–27. http://dx.doi.org/10.1017/ssh.2015.44.

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This paper examines the discursive production of risk and its management in the German “enlightenment film” of the interwar period. From the sexual enlightenment films of the immediate postwar era to the Nazi-era sterilization films, public health campaigns mobilized new ideas about hygiene and the new resources of the mass media. Depicting a world composed of discrete risks (venereal disease, hereditary illness), on the one hand, and supplying information on how to manage such risks, on the other, public officials and experts invested considerable resources in this project of public education

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43

Saunders, Tom. "Filming the Nazi Flag: Leni Riefenstahl and the Cinema of National Arousal." Quarterly Review of Film and Video 33, no. 1 (2015): 23–45. http://dx.doi.org/10.1080/10509208.2015.1094329.

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44

Yılmaz, Muzaffer Musab, and Doğuşcan Göker. "Ideology in Eastern European Cinema During the Second World War: A Semiotical Analysis." Trakya Üniversitesi Sosyal Bilimler Dergisi 27, no. 1 (2025): 23–31. https://doi.org/10.26468/trakyasobed.1535235.

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Eastern Europe was as an important front during the Second World War. This region was occupied by the Nazi regime for a long time. The art of cinema was also significantly affected by this occupation. Film production decreased drastically and came to a standstill in some countries. In countries that cooperated with the Nazis, however, film production continued. In this study, the extent of cinematic production in Eastern Europe during the war and the ways in which ideological discourse was developed are explored. Accordingly, in order to understand the cinematic production and ideological disc

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45

Smith, Christopher. "Sherlock Holmes and the Nazis: Fifth Columnists and the People's War in Anglo-American Cinema, 1942–3." Journal of British Cinema and Television 15, no. 3 (2018): 308–27. http://dx.doi.org/10.3366/jbctv.2018.0425.

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During the Second World War Universal Pictures produced three key Sherlock Holmes films. In each of these pictures, released in 1942 and 1943, Holmes was appropriated for the war effort. The Great Detective was transposed into wartime London where, in effect, he became the ultimate counter-intelligence agent who foiled the plots of Nazi infiltrators and sympathisers. The films retooled Holmes from his detective origins and place him into the spy genre, as was required for maximum propaganda value. Three key propaganda themes emerged from the films: first, that Britain was engaged in a ‘People'

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46

Martonfi. "On Frey's Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929–44." Jewish Film & New Media 7, no. 2 (2019): 239. http://dx.doi.org/10.13110/jewifilmnewmedi.7.2.0239.

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47

Hames, Peter. "Jews, Nazis, and the Cinema of Hungary: The Tragedy of Success, 1929â44 by Frey David (review)." Slavonic and East European Review 97, no. 4 (2019): 785–87. http://dx.doi.org/10.1353/see.2019.0047.

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48

Hebda, Grzegorz, Jerzy M. Gutowski, Jacek Kalisiak, Andrzej Melke, and Andrzej Wolski. "Materiały do rozmieszczenia pluskwiaków różnoskrzydłych (Hemiptera: Heteroptera) wybranych obszarów Polski: Wyżyny Małopolskiej, Gór Świętokrzyskich, Beskidu Zachodniego, Beskidu Wschodniego i Bieszczadów / Materials to the distribution of terrestrial true-bugs (Hemiptera: Heteroptera) in selected parts of Poland: Małopolska Upland, Świętokrzyskie Mts, Western Beskidy Mts, Eastern Beskidy Mts, and Bieszczady Mts." Heteroptera Poloniae - Acta Faunistica 14 (May 8, 2020): 109–18. https://doi.org/10.5281/zenodo.3804943.

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The paper presents new faunistic data on the occurrence of true-bugs Heteroptera in south-eastern Poland. Localities were scattered in 25 UTM squares in five zoogeographical regions: Małopolska Upland, Świętokrzyskie Mts, Western Beskidy Mts, Eastern Beskidy Mts and Bieszczady Mts. In total we present the data concerning 129 true-bug species, including <em>Elasmucha grisea</em> (listed for the first time from Świętokrzyskie Mts), <em>Heterocordylus leptocerus, Polymerus nigrita, Raglius alboacuminatus, Scolopostethus pictus, Chartoscirta cincta cincta and Physatocheila smreczynskii </em>(first

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49

Roman, Sergei N. "The movie “M” (1931) by Fritz Lang in the context of the scientific, social and cultural life of Germany in the 20-30 - ies of the twentieth century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 47 (2022): 204–16. http://dx.doi.org/10.17223/22220836/47/17.

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The article deals with the specifics of the social, political and cultural life in the Weimar Republic at time of the making of Fritz Lang's movie “M”. While showing the connection between the historic events of the time and the ideas conveyed in the movie, the author rejects the traditional interpretation of “M” as a pamphlet reflecting the problems in Germany before the national socialists came to power. The cooperation of the police and the criminal elements making attempts to catch the maniac is considered to be a logical continuation of the spiritual unity of the upper and lower classes s

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50

Zucker, Carole. "Review: The Ministry of Illusion: Nazi Cinema and Its Afterlife by Eric Rentschler." Film Quarterly 52, no. 1 (1998): 83–85. http://dx.doi.org/10.2307/1213401.

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