logo
Wrong email address or username
Wrong email address or username
Incorrect verification code
Hollywood and Hitler, 1933-1939 - Thomas Doherty
Hollywood and Hitler, 1933-1939
by: (author)
4.00 25
The abundance of WWII-era documentaries and the huge cache of archival footage that has emerged since 1945 make it seem as if cinematic images of the Nazis were always as vivid and plentiful as they are today. Yet between 1933 and 1939, representations of the Nazis and the full meaning of Nazism... show more
The abundance of WWII-era documentaries and the huge cache of archival footage that has emerged since 1945 make it seem as if cinematic images of the Nazis were always as vivid and plentiful as they are today. Yet between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more distinct and ominous only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docu-drama by Cornelius Vanderbilt, Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. His history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi counsel in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939). As Europe hurtled toward war, a proxy battle was waged in Hollywood over how to conduct business with the Nazis; over whether to address or ignore Nazism in Hollywood feature films; and over how to cover Hitler and his victims in the newsreels. Should Hollywood lie low, or stand tall and sound the alarm?
show less
Format: hardcover
ISBN: 9780231163927 (0231163924)
Publisher: Columbia University Press
Pages no: 448
Edition language: English
Series: Film and Culture
Bookstores:
Community Reviews
donnambrownuk
donnambrownuk rated it
4.0 Hollywood and Hitler, 1933-1939
I've read a lot of books about Hitler and WWII this last couple of years, from the fictional (City of Women, The Patient Ecstacy of Fraulein Braun) to non-fiction (Dinner with Churchill, Useful Enemies), so to approach the subject from the angle of entertainment/culture was very interesting. I must ...
Sister Mary Murderous
Sister Mary Murderous rated it
4.0
When the Nazis came to power in Germany in 1933, they understood the power of propaganda and the powerful role of cinema in promoting the party's aims. Joseph Goebbels, as Reich Minister of Public Enlightenment and Propaganda, made it a priority to Nazify all areas of art and took a particular int...
Other editions (1)
Books by Thomas Doherty
On shelves
Share this Book
Need help?