Portal de Periódicos da CAPES

Propagandistic problems of German newsreels in World War II

2004; Routledge; Volume: 24; Issue: 1 Linguagem: Inglês

10.1080/0143968032000184524

1465-3451

Kay Hoffmann,

German History and Society

Click to increase image sizeClick to decrease image size Notes David Welch, Propaganda and the German Cinema 1933–1945 (London and New York, 2001), p. 164. For details, see «www.wochenschau‐archiv.de». For details, see «www.hdf.de». Geschichte des dokumentarischen Films in Deutschland 1895–1945, Vol. 1: Kaiserreich (edited by Martin Loiperdinger and Uli Jung); Vol. 2: Weimarer Republik (edited by Klaus Krejmeier, Antja Ehmann and Jeanpaul Goergen); Vol. 3: Drittes Reich (edited by Peter Zimmermann and Kay Hoffmann), (Stuttgart, forthcoming). For a detailed biographical sketch of Hippler, see Roel Vande Winkel, Nazi Germany's Fritz Hippler, 1909–2002, Historical Journal of Film, Radio and Television, 23 (2003), pp. 91–99. Hilmar Hoffmann, ‘ Und die Fahne führt uns in die Ewigkeit’. Propaganda im NS‐Film (Frankfurt, 1988), p. 202. Hasso von Wedel, Die Propagandatruppen der Deutschen Wehrmacht (Neckargemünd, 1962), p. 70. Siegfried Kracauer, The conquest of Europe on the screen, Social Research, 10:3 (1943), p. 343. This new style was often discussed in the monthly magazine of the ‘Reichsfilmkammer’, Der Deutsche Film. Zeitschrift für Filmkunst und Filmwirtschaft, which was published between 1936 and 1943. Heinz Boberach (ed.), Meldungen aus dem Reich. Die geheimen Lageberichte des Sicherheitsdienstes der SS 1938–1945, 17 vols (Herrsching, 1984), p. 27. Quoted in Peter Bucher, Goebbels und die Deutsche Wochenschau: Nationalsozialistische Filmpropaganda im Zweiten Weltkrieg 1939–1945, Militärgeschichtliche Mitteilungen, 2 (1986), p. 57. Boberach, op. cit, p. 3106. Felix Moeller, Der Filmminister. Goebbels und der Film im Dritten Reich (Berlin, 1998), p. 378. Moeller, op. cit., p. 394. In 1992, Ellen Gibbels produced the documentary Hitler's Parkinson‐Syndrom—Eine Analyse von Aufnahmen der Deutschen Wochenschau aus den Jahren 1940–1945 for the IWF. It has the film number G 254 and an accompanying brochure was published by her in 1995. Stefan Dolezel and Martin Loiperdinger, ‘Adolf Hitler in Parteitagsfilm und Wochenschau’, in Martin Loiperdinger, Rudolf Herz and Ulrich Pohlmann (eds), Führerbilder. Hitler, Mussolini, Roosevelt, Stalin in Fotografie und Film (München, 1995), p. 98. Bucher, op. cit., pp. 58–59. Bucher, op. cit., p. 65. Hans Barkhausen, Filmpropaganda für Deutschland im Ersten und Zweiten Weltkrieg (Hildesheim, Zürich and New York, 1982), p. 238. Moeller, op. cit., p. 399. R. C. Raack, Nazi film propaganda and the horrors of war, Historical Journal of Film, Radio and Television, 6:2 (1986), p. 191. The Winniza massacre was a topic in Die Deutsche Wochenschau No. 672, 21 July 1943, Katyn was mentioned in that report. Additional informationNotes on contributorsKay Hoffmann Kay Hoffmann (born 1959) holds a PhD in Cultural Studies from the University of Marburg. His research includes questions of electronization of movie production, digitization, as well as historical studies on film and television history. Since 1994 he has worked on various projects at the Documentary Film Center in Stuttgart and is currently completing a research project on non‐fiction film in Germany in the Third Reich period. Furthermore, he works as a film journalist and has organized numerous conference as well as TV and film festivals (e.g. Berlin International Film Festival, Stuttgart Festival on Nature Film 1993, INPUT 1998). His books as author, editor or co‐editor include Am Ende Video—Video am Ende (1990), Natur und ihre filmische Auflösung (1994), Zeichen der Zeit (1996), Trau–Schau–Wem (1997), Cinema Futures: Cain, Able or cable? (1998), Die Einübung des dokumentarischen Blicks (2001), and Triumph der Bilder (2003). Kay Hoffmann (born 1959) holds a PhD in Cultural Studies from the University of Marburg. His research includes questions of electronization of movie production, digitization, as well as historical studies on film and television history. Since 1994 he has worked on various projects at the Documentary Film Center in Stuttgart and is currently completing a research project on non‐fiction film in Germany in the Third Reich period. Furthermore, he works as a film journalist and has organized numerous conference as well as TV and film festivals (e.g. Berlin International Film Festival, Stuttgart Festival on Nature Film 1993, INPUT 1998). His books as author, editor or co‐editor include Am Ende Video—Video am Ende (1990), Natur und ihre filmische Auflösung (1994), Zeichen der Zeit (1996), Trau–Schau–Wem (1997), Cinema Futures: Cain, Able or cable? (1998), Die Einübung des dokumentarischen Blicks (2001), and Triumph der Bilder (2003).