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Nazi Propaganda: Jews
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The Nazi propaganda literature from the YIVO Institute for Jewish research is considered to be one of the greatest contributions to Holocaust Study Resources. The significance of this collection lies not merely in its size, but ... in the rarity - and in some cases, uniqueness- of many of the items it contains. The collection includes works on Nazi research about Jews and Judaism, anti-Semitic scholarship, "knapsack books" and many illustrated items that facilitate research on the visual representation of the Jews. IDC Publishers has been selected by the YIVO Institute as its exclusive partner for distributing the collection of Nazi propaganda literature. IDC makes this very important resource available for students of the Holocaust, anti-Semitism and German history and literature.
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[D]espite all Nazi cunning, the propaganda tricks and the creation of dazzling new symbols could not take the minds of the German people entirely off their troubles. The Nazis then cleverly drained away some of these resentments by finding scapegoats—minority groups against whom blame for difficulties could be charged. The trade unions were one scapegoat, the Versailles Treaty another, the Communists a third, and the democracies a fourth. But the Jew was the easiest target. The German people could blame all these “enemies” for their own state of affairs and ... seem to free themselves of fault.
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Nazi propaganda consisted of negative and positive propaganda. The negative propaganda dwelled on the dangers of “enemies of the state”, Jews in particular. The positive forms of propaganda stressed the greatness of the German Reich and its “Aryan” population.
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One of the ways this could be done would be to show authentic Nazi film propaganda. Both Hitler and Goebbels considered the film medium to be the most important tool to influence the minds of the German people. 7 Leni Riefenstahl's famous documentary "Triumph des Willens" on the Nuremberg Rallies in 1934 was certainly instrumental in creating the "Führer-Myth," 8 and another "documentary," "Der ewige Jude" (1940), was produced in order to "reveal" the "truth" of the Jews. 9 It contained the whole "legitimization" for their annihilation.
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Other German exhibits have showcased Riefenstahl's work, mostly alongside other Nazi propaganda or art from the Nazi period. A private art gallery in Hamburg last year mounted a show of her Nuba photos without reference to her work for Hitler, drawing protests from Jewish groups that the gallery was glorifying a Third Reich criminal.
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