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First Published in 2005.This text starts to look at England's
Commercial Policy towards her Colonies since the Treaty of Paris
and then moves forward to cover Commercial policy, federation, the
Empire and Trade.
First Published in 2005.This text starts to look at England's
Commercial Policy towards her Colonies since the Treaty of Paris
and then moves forward to cover Commercial policy, federation, the
Empire and Trade.
A fascinating look at Nazi Germany as revealed in its films. This
collection of essays offers a view of Nazi Germany through an
analysis of twenty films, representing a sampling of the period's
directors and reflecting the film medium's major genres. In spite
of the control that Goebbels's film industry exercised over all
aspects of filmmaking in the Third Reich, the films reveal an
individuality that belies subsuming them under any one rubric or
containing them within any one theory. Films such as Hitlerjunge
Quex, Die große Liebe, and Auf Wiedersehen Franziska represent the
Nazi film industry's efforts to propagandize through entertainment.
Others such as Immensee, Kleider machen Leute, and Der
Schimmelreiter reveal an attempt to expropriate Germany's rich
literary past for the regime. These literary adaptations and films
like Glückskinder, La Habanera, and Der Kaiser von Kalifornien
today seem void of Nazi ideology if viewed outside the context of
Nazism. But another film, Der ewige Jude, shocks us with its
virulent anti-Semitism and hateful propaganda almost sixty years
after its release. All of the films treated, regardless of their
fame or notoriety or the level of commitment of their directors to
the Nazi cause, played an important role in a cinema that not only
represents the dreams and lives of the citizens of the Third Reich,
but influencedthem as well. Robert C. Reimer is professor of German
at the University of North Carolina, Charlotte.
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