From the late 1930s to the early twenty-first century, European and
American filmmakers have displayed an enduring fascination with
Nazi leaders, rituals, and symbols, making scores of films from
Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943)
through Des Teufels General (The Devil's General, 1955) and
Pasqualino settebellezze (Seven Beauties, 1975), up to Der
Untergang (Downfall, 2004), Inglourious Basterds Probing the
emotional sources and effects of this fascination, Sabine Hake
looks at the historical relationship between film and fascism and
its far-reaching implications for mass culture, media society, and
political life. In confronting the spectre and spectacle of fascist
power, these films not only depict historical figures and events
but also demand emotional responses from their audiences, infusing
the abstract ideals of democracy, liberalism, and pluralism with
new meaning and relevance. Hake underscores her argument with a
comprehensive discussion of films, including perspectives on
production history, film authorship, reception history, and
questions of performance, spectatorship, and intertextuality.
Chapters focus on the Hollywood anti-Nazi films of the 1940s, the
West German anti-Nazi films of the 1950s, the East German
anti-fascist films of the 1960s, the Italian 'Naziploitation' films
of the 1970s, and issues related to fascist aesthetics, the ethics
of resistance, and questions of historicisation in films of the
1980s-2000s from the United States and numerous European countries.
General
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