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Propaganda Film
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Reeves' study provides a backdrop to the study of film propaganda in Australia during World War One, for there are interesting similarities and differences in the Australian experience. As a British Dominion, Australian culture was heavily influenced by the imperial centre, so it is no surprise to find that its cinematic history has many parallels to that of Britain. However, there were ... distinct differences, due to the unique circumstances of the Australian wartime environment.
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The paper discusses the possibilities and dangers of using authentic Nazi anti-Semitic film propaganda as a means of teaching the reasons behind the Holocaust. It argues that especially one socalled "documentary" - "Der ewige Jude" from 1939/40 - had a major impact on Hitler's final decision to launch the genocide because of its "reality-like" character. The paper outlines the production story of the film which was produced in close cooperation between Joseph Goebbels and the Fuehrer himself. It shows how this film - together with the feature film "Jud Süss" - was used to legitimize the annihilation of European Jewry to the German public. The main section of the paper consists of a report on almost 25 years of Danish and German experiences of the effects of showing the film to the young people of today for educational purposes... pointing out the fact that "Der ewige Jude" is regarded as a "cult film" among neo-Nazi groups in- and outside Germany. The paper then relates the opinions of the different audiences to the question whether the film can be considered to be dangerous today - or not.
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The original Reefer Madness was an anti-marijuana propaganda film called Tell Your Children, produced by a fundamentalist church group in 1936. Soon after being shot, the rights were purchased by Dwain Esper, a notorious pioneer of the exploitation film genre. Esper changed the title and edited a few campy sex scenes - for educational purposes, of course. And after a brief run in roadhouses and burlesque theatres, it sat dormant for decades. Marijuana advocates rediscovered the film in the early seventies and started showing it at pro-pot festivals and college campuses, where the film's earnest message suddenly seemed outrageously funny when viewed through a haze of smoke.
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Other government agencies ... used film propaganda to promote their agenda. J. Edgar Hoover used popular culture to promote the then obscure FBI by establishing the G-Man as a hero this country needs for the security of the state. The movie G-Men (1935) did just that, replacing the seedy private detective with a slick, moral FBI agent. Then James Stewart in 1959 again played family man, this time as an FBI agent in The FBI Story, balancing both career and family.
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This is Another Disney produced cartoon propaganda film entitled Hitler’s Children, Education for Death. The film uses very typical propaganda images and sounds - the Nazi’s tower over the people who behave as if they are terrified. This one really just has to be seen to be believed.
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The paper discusses the possibilities and dangers of using authentic Nazi anti-Semitic film propaganda as a means of teaching the reasons behind the Holocaust. It argues that especially one so-called "documentary" - "Der ewige Jude" from 1939/40 - had a major impact on
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Propaganda Film