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Film as an Object of Reflection in the Goebbels Diaries: Series II (1941–1945)

Published online by Cambridge University Press:  16 December 2008

Michael H. Kater
Michael H. Kater
Affiliation:
York University
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Central European History , Volume 33 , Issue 3 , September 2000 , pp. 391 - 414
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Copyright © Conference Group for Central European History of the American Historical Association 2000

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References

1. Henceforth referred to as TGII.

2. Elke, Fröhlich, ed., Die Tagebücher von Joseph Goebbels: Sämtliche Fragmente, 5 vols. ed. (Munich, 1987) (henceforth referred to as TG).Google Scholar

3. Kater, Michael H., “Inside Nazis: The Goebbels Diaries, 1924–1941,” Canadian Journal of History 25 (1990): 233–43.CrossRefGoogle Scholar

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5. Horst, Möller, “Vorwort,” in TGII 1, 7–9.Google Scholar

6. Elke, Fröhlich, “Zur Einrichtung der Edition,” in TCII 1, 10–25.Google Scholar

7. E.g., see Hull, David Stewart, Film in the Third Reich: A Study of the German Cinema, 1933–1945 (Berkeley, 1969), 39.Google Scholar

8. TG 2, 68. I am using the translation in Patrick, McGilligan, Fritz Lang: The Nature of the Beast (New York, 1997), 157.Google Scholar

9. McGilligan, , Fritz Lang, 1, 5, 174–81, 191–92, 218, 287–88, 405, 428.Google Scholar

10. Hull, , Film in the Third Reich, 222–29Google Scholar. Also see Joseph, Wulff, Theater und Film im Dritten Reich: Eine Dokumentation (Reinbek, 1966), 329–30.Google Scholar

11. TGII 5 (31 July 1942), 221.

12. Hull, , Film in the Third Reich, 229.Google Scholar

13. Ibid., 10.

14. TGII 2 (30 Dec. 1941), 607.

15. TGII 3 (21 Feb. 1942), 351. Similarly: (27 Feb. 1942), 377.

16. TGII 3 (22 Mar. 1942), 525.

17. David, Welch, Propaganda and the German Cinema, 1933–1945 (Oxford, 1983), 48Google Scholar; Hull, , Film in the Third Reich, 36.Google Scholar

18. Wulff, , Theater und Film im Dritten Reich, 389–90, 401, 441–59Google Scholar; Baird, Jay W., To Die For Germany: Heroes in the Nazi Pantheon (Bloomington, Ind., 1990), 73–129Google Scholar; Eric, Rentschler, The Ministry of Illusion: Nazi Cinema and Its Afterlife (Cambridge, Mass., 1996), 53–69, 149–69Google Scholar; Welch, , Propaganda and the German Cinema, 255–56, 290–91Google Scholar; Klaus, Kreimeier, The Ufa Story: A History of Germany’ Greatest Film Company, 1918–1945 (New York, 1996), 312Google Scholar; Linda, Schulte-Sasse, Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (Durham, N.C., 1996), 47–91, 253–73.Google Scholar

19. Heinrich, Gaese, “Preussentum und Weltanschauung,” SS-Leitheft 9, no. 1 (01. 1943): 25–27Google Scholar; “Rede des Königs vor der Schlacht bei Leuthen,” ibid., no. 5 (May 1943): 18; Hans Henning, Freiherr Grote, “Die grossen Hohenzollern: Vom Grossen Kurfürsten bis zu Friedrich dem Grossen,” in Deutsche Führer Deutsches Schicksal: Das Buch der Künder und Führer des Dritten Reiches ed. Hans Heinz, Mantau-Sadila (Berlin, n.d.), 13–32Google Scholar; Adolf, Hitler, Mein Kampf, 26th ed. (Munich, 1933), 286Google Scholar; TGII 4 (20 Apr. 135), 135; Kreimeier, , The Ufa Story, 200Google Scholar; Welch, , Propaganda and the German Cinema, 147Google Scholar; Schulte-Sasse, , Entertaining the Third Reich, 92–144.Google Scholar

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21. Welch, , Propaganda and the German Cinema, 219Google Scholar; Hull, , Film in the Third Reich, 248–49Google Scholar; TGII 4 (23 May 1942), 345.

22. Kater, Michael H., Different Drummers: Jazz in the Culture of Nazi Germany (New York, 1992), 110–211.Google Scholar

23. Such as Leichte Muse (1941). See Gerd, Albrecht, Nationalsozialistische Filmpolitik: Eine soziologische Untersuchung über die Spielfilme des Dritten Reichs (Stuttgart, 1969), 551Google Scholar; TGII 1 (7 Sept. 1941), 373–74; Kreimeier, , The Ufa Story, 312–13.Google Scholar

24. TGII 1 (21 July 103), 103; (15 Aug. 1941), 239; (25 Sept. 1941), 494; TGII 2 (21 Oct. 151), 151; (16 Nov. 1941), 299–300; TGII 3 (9 Jan. 1942), 80–81; (13 Feb. 1942), 299; TGII 10 (11 Dec. 458), 458; TGII 11 (9 Feb. 267), 267; TGII 12 (25 Apr. 183), 183; TGII 14 (24 Oct. 94), 94; (23 Dec. 1944), 469.

25. Hull, , Film in the Third Reich, 8.Google Scholar

26. TGII 1 (31 July 152), 152; TGII 2 (20 Nov. 321), 321; (21 Nov. 1941), 329; (13 Dec. 1941), 492; (17 Dec. 1941), 524; Welch, , Propaganda and the German Cinema, 36–37.Google Scholar

27. TGII 2 (9 Nov. 257), 257; TGII 3 (23 Feb. 360), 360; TGII 5 (28 July 20), 20; (28 Aug. 1942), 413; TGII 6 (22 Oct. 164), 164; (12 Dec. 1942), 429; (13 Dec. 1942), 441; TGII 7 (28 Feb. 1943), 439–40; TGII 8 (17 Apr. 118), 118; (19 Apr. 1943), 127; (28 June 1943) 557; TGII 10 (21 Nov. 330), 330; (11 Dec, 1943), 458; TGII 11 (8 Feb. 260), 260; TGII 13 (26 Jul. 173), 173; TGII 14 (1 Nov. 1944), 134.

28. See Oliver, Rathkolb, Führertreu und gottbegnadet: Künstlereliten im Dritten Reich (Vienna, 1991), esp. 59–78.Google Scholar

29. TGII 1 (29 July 142), 142; TGII 2 (22 Nov. 1941), 344–45.

30. TGII 2 (20 Nov. 1941), 322.

31. TGII 9 (20 July 1943), 131.

32. Author’ recorded interview with Margot Hielscher, Munich, 4 June 1988; TGII 1 (28 Jan. 1944), 188 (quote); (2 Feb. 1944), 221; (13 Feb. 1944), 291; (8 Mar. 1944), 435.

33. TGII 2 (22 Oct. 155), 155; (23 Dec. 1941), 566; TGII 3 (22 Jan. 167), 167; (10 Feb. 1942), 282; (21 Feb. 1942), 351; (28 Feb. 1942), 386; TGII 4 (22 Apr. 147), 147; (21 June 1942), 568; TGII 6 (22 Dec. 488), 488; TGII 7 (16 Mar. 1943), 562; TGII 8 (7 May 222, 222; 10 May 1943), 263; TGII 10 (6 Oct. 63), 63; TGII 11 (23 Nov. 1944), 144–45; (22 Mar. 1944), 526; TGII 14 (21 Nov. 250), 250; TGII 15 (20 Jan. 164), 164; (23 Jan. 1945), 190; (24 Jn. 1945), 208; (30 Jan. 1945), 272; Welch, , Propaganda and the German Cinema, 35, 186–87, 196Google Scholar; Schulte-Sasse, , Entertaining the Third Reich, 32.Google Scholar

34. TGII 4 (16 Apr. 111), 111; TCII 5 (14 Aug. 312), 312; Kater, Michael H., The Twisted Muse: Musicians and Their Music in the Third Reich (New York, 1997)CrossRefGoogle Scholar; Kater, , Composers of the Nazi Era: Eight Portraits (New York, 2000).CrossRefGoogle Scholar

35. TGII 1 (8 Aug. 196), 196; (21 Aug. 1941), 284; TGII 2 (12 Oct. 102), 102; TGII 3 (1 Mar. 1942), 395; TGII 6 (3 Nov. 1942), 228.

36. TGII 5 (3 Aug. 239), 239; (2 Sept. 1942), 436; TGII 1 (1 Jan. 31), 31; TGII 9 (July 29), 29; (15 Aug. 1943), 289; TGII 11 (28 Jan. 184), 184; (5 Mar. 1944), 417; TGII 12 (1 June 1944), 381.

37. TGII 7 (6 Mar. 1943), 479.

38. TGII 4 (13 Apr. 93), 93; (16 Apr. 1942), 110; (21 Apr. 1942), 136; (28 Apr. 1941), 196; TGII 5 (2 Aug. 228), 228; TGII 7 (1 Jan. 1943), 30.

39. Albrecht, , Nationalsozialistische Filmpolitik, 484–500Google Scholar; TGII 3 (1 Mar. 1942), 395; TGII 5 (20 Sept. 1942), 539.

40. TGII 5 (26 Aug. 1942), 404.

41. TGII 9 (14 Aug. 1943), 288.

42. TGII 10 (16 Dec. 1943), 483.

43. TGII 1 (11 July 1941), 52.

44. TGII 1 (26 Sept. 1941), 500.

45. On relations with managers see TGII 1 (27 Sept. 1941), 505–6; (28 Sept. 1941), 510; TGII 2 (9 Oct. 82), 82; (17 Oct. 1941), 126; TGII 3 (17 Feb. 330), 330; TGII 4 (3 May 230), 230; (12 May 1942), 279; TGII 8 (6 May 1943), 216.

46. On young women and Baarova see Kristina, Söderbaum, Nichts bleibt immer so: Erinnerungen, aufgezeichnet von Julia Streitz, 2nd ed. (Munich, 1992), 171–72Google Scholar; Hull, , Film in the Third Reich, 99Google Scholar; author’ recorded interview with Margot Hielscher, Munich, 4 June 1988; Helmut, Heiber, Joseph Goebbels (Munich, 1965), 252–55Google Scholar; TG 3 (17 Aug.–4 Nov. 1938), 508–29.

47. TGII 2(25 Nov. 363), 363; TGII 3 (4 Feb. 245), 245; TGII 4 (17 May 301), 301; (14 June 1942), 518; TGII 5 (17 Jul. 133), 133; (16 Aug. 1942), 325.

48. TGII 7 (9 Jan. 72), 72; (27 Feb. 1943), 422; TGII 10 (1 Oct. 34, 34; TGII 12 12 May 278), 278; (25 May 1944), 355.

49. TGII 1 (15 July 1941), 69–70; (2 Sept. 1941), 348; (16 Sept. 1941), 428; TGII 2 (1 Oct. 1941). 34; TGII 3 (7 Feb. 263), 263; (17 Mar. 1942), 496; TGII 4 (23 Apr. 154), 154; (24 Apr. 1942), 162; TGII 5 (20 July 152), 152; (1 Sept. 1942), 431; (13 Sept. 1942), 490; (18 Sept. 1942), 525; TGII 7 (23 Feb. 1943), 402.

50. TGII 9 (21 Sept. 1943), 546.

51. TGII 1 (2 Sept. 349), 349; (15 Sept. 1941), 422 (quote); (16 Sept. 1941), 428; (25 Sept. 1941), 493; TGII 2 (12 Oct. 102), 102; TGII 3 (17 Mar. 1942), 496; TGII 4 (23 Apr. 154), 154; (24 Apr. 1942). 162; TGII 5 (28 July 201), 201; TGII 6 (27 Nov. 1942), 346.

52. TGII 1 (1 Sept. 345), 345; (25 Sept. 1941), 494; TGII 2 (18 Oct. 137), 137; TGII 5 (7 Sept. 457), 457; (18 Sept. 1942), 525; TGII 6 (4 Oct. 68), 68; (18 Oct. 1942), 146 (1st quote); (26 Oct. 1942), 189; (27 Oct. 1942), 195 (2nd quote), 196. On Benghasi, see Lothar, Gruchmann, Der Zweite Weltkrieg: Kriegführung und Politik (Munich, 1967), 108Google Scholar; Ivone, Kirkpatrick, Mussolini: A Study in Power (New York, 1964), 492–94.Google Scholar

53. TGII 1 (1 Aug. 1941), 158–59; TGII 3 (27 Jan. 197), 197; TGII 4 (24 Apr. 62), 62; Philipp, Gassert, Amerika im Dritten Reich: Ideologie, Propaganda und Volksmeinung, 1933–1945 (Stuttgart, 1997), 178Google Scholar; Kreimeier, , The Ufa Story, 123Google Scholar; Rentschler, , The Ministry of Illusion, 103.Google Scholar

54. Fritz, Giese, Girlkultur: Vergleiche zwischen amerikanischem und europäischem Rhythmus- und Lebensgefühl (Munich, 1925)Google Scholar; Hans Dieter, Schäfer, Das gespaltene Bewusstsein: Deutsche Kultur und Lebenswirklichkeit, 1933–1945, 2nd ed. (Munich, 1981), 114–18Google Scholar; Rentschler, , The Ministry of Illusion, 103–11Google Scholar; Kater, , Different Drummers.Google Scholar

55. TG 2, “Aus Gottes eigenem Land,” Das Reich (Berlin), 9 Aug. 1942.Google Scholar

56. TG 2, 564, 630, 655; “Der gleichberechtigte Negro,” Das Reich (Berlin), 18 July 1943Google Scholar; Kater, , Different Drummers, 23, 36, 135.Google Scholar

57. TG 4, 245; “Die Strasse des Elends,” Das Reich (Berlin), 8 Nov. 1942Google Scholar; “Jugendmoral in Amerika: Im Schatten der Kriegskonjunktur,” Das Reich (Berlin), 30 May 1943.Google Scholar

58. Hull, , Film in the Third Reich, 64–66Google Scholar; Rentschler, , The Ministry of Illusion, 73–96Google Scholar; Albrecht, , Nationalsozialistische Filmpolitik, 556.Google Scholar

59. TG 3, 573. Also see 633.

60. TGII 7 (12 Jan. 100), 100; (5 Mar. 1943), 477 (quote). See Hull, , Film in the Third Reich, 46–47, 90–91.Google Scholar

61. Evelyn, Künneke, Sing, Evelyn, Sing: Revue eines Lebens (Reinbek, 1985), 55–56 (quote)Google Scholar; Albrecht, , Nationalsozialistische Filmpolitik, 550.Google Scholar

62. Author’ telephone conversation with Hielscher, Berlin, 25 May 1988.

63. TGII 3 (23 Jan. 168), 168; TGII 9 (9 July 1943), 64 (1st quote); TGII 14 (22 Nov. 1944), 251 (2nd quote). Also see TGII 9 (15 July 104), 104; Weinberg, Gerhard L., “Hitler’ Image of the United States,” American Historical Review 69 (1964): 1006–21.CrossRefGoogle Scholar

64. Welch, , Propaganda and the German Cinema, 34.Google Scholar

65. TG 4, 41.

66. TG 4, 259. Also see TGII 3 (21 Feb. 347), 347; Hull, , Film in the Third Reich, 179.Google Scholar

67. TG 4, 468.

68. TGII 4 (3 May 1942), 230–31; TGII 8 (25 Apr. 1943), 164.

69. TGII 2 (23 Oct. 1941), 164.

70. Kreimeier, , The Ufa Story, 328–29Google Scholar; Albrecht, , Nationalsozialistische Filmpolitik, 383, 547Google Scholar; Hull, , Film in the Third Reich, 204–5.Google Scholar

71. TG 4, 494, 634, 680; TGII 1 (6 Aug. 180), 180; TGII 2 (7 Oct. 72), 72; (22 Nov. 1941), 344; TGII 4 (27 May 379), 379; TGII 5 (5 Sept. 448), 448; TGII 7 (4 Jan. 1943), 41.

72. TGII 5 (27 Sept. 581), 581; Kreimeier, , The Ufa Story, 328–29.Google Scholar

73. TGII 10 (1 Dec. 1943), 399. See Hull, , Film in the Third Reich, 253, 258.Google Scholar

74. TGII 2 (16 Dec. 519), 519; TGII 3 (1 Mar. 1942), 395; TGII 4 (29 Apr. 1942), 203.

75. TGII 2 (2 Oct. 39), 39; (17 Oct. 1941), 131; TGII 4 (1 Apr. 35), 35; TGII 5 (22 Sept. 1942), 550. Also see Kreimeier, , The Ufa Story, 303, 333–39.Google Scholar

76. TGII 1 (13 July 61), 61; (8 Aug. 1941), 196; TGII 4 (25 June 617), 617; TGII 5 (17 July 133), 133; TGII 8 (17 May 314), 314; TGII 9 (14 July 99), 99; TGII 11 (20 Feb. 321), 321; (18 Mar. 1944), 500.

77. Kreimeier, , The Ufa Story, 130–31, 257–60, 319–22Google Scholar; Rentschler, , The Ministry of Illusion, 125Google Scholar. Also see Hull, , Film in the Third Reich, 42–45Google Scholar; Welch, , Propaganda and the German Cinema, 7, 16–17Google Scholar; Albrecht, , Nationalsozialistische Filmpolitik, 12–33.Google Scholar

78. TGII 2 (22 Nov. 1941), 344–45; TGII 3 (11 Mar. 1942), 448; TGII 4 (12 May 279), 279; (1 June 1942), 427; (21 June 1942), 568; TGII 6 (12 Dec. 1942), 429.

79. TGII 7 (16 Mar. 1943), 562; TGII 8 (4 Apr. 1943), 51; (17 Apr. 1943), 118 (1st two quotes); (6 May 1943), 216; (17 May 1943), 313–14; (27 May 1943), 375; TGII, 10 (6 Oct. 63), 63; (5 Dec. 1943), 425; TGII 11 (28 Jan. 1944), 188 (3rd quote); (1 Feb. 1944), 216; (3 Feb 1944), 229; TGII 12 (10 Apr. 82), 82; (16 Apr. 1944), 117; (19 Apr. 1944), 147; (21 Apr. 1944), 161; TGII 12 (16 June 476), 476; TGII 13 (26 July 173), 173; TGII 14 (24 Dec. 1944), 470.

80. Hull, , Film m the Third Reich, 212, 235Google Scholar; Welch, , Propaganda and the German Cinema, 18–21Google Scholar; Kreimeier, , The Ufa Story, 102, 234Google Scholar; Albrecht, , Nationalsozialistische Filmpolitik, TCII 7 (2 02. 1943), 245Google Scholar; (25 Feb 1943), 415; TGII 8 (24 June 519), 519; TGII 9 (23 July 149), 149; TGII 12 (2 Apr. 1944), 42–43. For the creation and work of Goebbels’ Reich Culture Chamber within his ministry in November 1933, which also included a Reich Film Chamber, exerting various degrees of control, see Steinweis, Alan E., Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts (Chapel Hill, 1997).Google Scholar Note that Steinweis does not treat film per se.

81. TGII 11 (23 Jan. 1944), 146 (quote).

82. TGII 3 (19 Feb. 1942), 340; TGII 4 (14 Apr. 1942), 95; (30 May 1942), 409.

83. TGII 4 (14 May 1942), 289; TGII 5 (14 Aug. 1942), 313. See Veit, Harlan, Im Schatten meiner Filme: Selbstbiographie, ed. Opfermann, H. C. (Gütersloh, 1966) 180–94.Google Scholar For Truppenbetreuung, see Kater, , Different Drummers, 117–18, 135, 138–39, 143, 166–67, 185, 187–89.Google Scholar

84. TGII 13 (16 July 1944), 130.

85. TGII 14 (2 Dec. 1944), 331; (3 Dec. 1944), 345; TGII 15 (12 Feb. 1945), 370 (quote). Also see Hull, , Film in the Third Reich, 261–66Google Scholar; Welch, , Propaganda and the German Cinema, 225–35.Google Scholar

86. TGII, 1 (25 July 1941), 124–25 (20 Aug. 1941), 279; TGII 2 (24 Oct. 1941), 171; Welch, , Propaganda and the German Cinema, 134–42, 242–56Google Scholar; Hull, , Film in the Third Reich, 59, 86–87, 199–200, 219.Google Scholar

87. TGII 5 (16 Aug. 1942), 325.

88. TGII 2 (24 Dec. 1941), 573; TGII 4 (8 June 1942), 470; TGII 6 (30 Nov. 1942), 361; TGII 9 (5 July 1943), 43; TGII 11 (26 Mar. 1944), 559; TGII 12 (15 Apr. 1944), 111; Rentschler, , The Ministry of Illusion, 171–90Google Scholar; Schulte-Sasse, , Entertaining the Third Reich, 275, 282–87.Google Scholar

89. Kater, Michael H., “Das Problem der musikalischen Moderne im NS-Staat,” in Bruckner-Probleme, ed. Albrecht, Riethmüller (Stuttgart, 2000), 169–84.Google Scholar

90. TGII 5 (26 July 1942), 190; (20 Aug. 1942), 369; (16 Sept. 1942), 511; TGII 6 (4 Oct. 1942), 68; Welch, , Propaganda and the German Cinema, 171–74Google Scholar; Hull, , Film in the Third Reich, 185.Google Scholar

91. Hull, , Film in the Third Reich, 184Google Scholar; Schulte-Sasse, , Entertaining the Third Reich, 147–75.Google Scholar

92. TGII 7 (23 Mar. 1943), 630.

93. The official Nazi designation is from Albrecht, , Nationalsozialistische Filmpolitik, xiGoogle Scholar; also see the tables ibid., 110.

94. Baird, Jay W., The Mythical World of Nazi War Propaganda, 1939–1945 (Minneapolis, 1974), 175–98Google Scholar; Kater, , Different Drummers, 174.Google Scholar

95. TGII 7 (26 Feb. 1943), 421.

96. TGII 1 (12 Aug. 1941), 220–21; TGII 2 (28 Oct. 1941), 197; TGII 5 (17 July 1942) 139; (14 Aug. 1942), 307; TGII 9 (7 July 1943), 57–58; TGII 12 (27 Apr. 1944), 200.

97. TGII 4 (15 May 1942), 295; TGII 1 (7 Mar. 1943), 493; (15 Mar. 1943), 554; TGII 8 (28 May 1943), 380; TGII 11 (25 Jan. 1944), 170; TGII 12 (21 May 1944), 333.

98. TGII 10 (2 Nov. 1943), 223 (quote); Albrecht, , Nationalsozialistische Filmpolitik, 557.Google Scholar

99. Hull, , Film in the Third Reich, 234, 238–41.Google Scholar

100. Sieverts, , “Geschäftsbericht der Gauarbeitsgemeinschaft für Jugendbetreuung in Hamburg, 1940–1943,”Google Scholar n.d., Bundesarchiv Koblenz, NL/289.

101. Kreimeier, , The Ufa Story, 208Google Scholar; Rentschler, , The Ministry of Illusion, 142 (1st quote)Google Scholar; TGII 1 (24 Sept. 1941), 476 (2nd quote); TGII 3 (23 Mar. 1942), 531 (3rd quote); TGII 10 (18 Oct. 1943), 126; Albrecht, , Nationalsozialistische Filmpolitik, 547.Google Scholar

102. TGII 1 (28 Aug. 1941), 321–22; TGII 5 (3 July 1942), 49; TGII 7 (29 Mar. 1943), 664; Welch, , Propaganda and the German Cinema, 190–91Google Scholar; cf. Albrecht, , Nationalsozialistische Filmpolitik, 545.Google Scholar

103. TG 4, 44.

104. Harlan, , Im Schatten meiner Filme, 89–130Google Scholar; cf. the slavish reduction of this text in Söderbaum, , Nichts bleibt immer so, 130–37.Google Scholar Also Kreimeier, , The Ufa Story, 138, 276.Google Scholar

105. TGII 1 (23 July 1941), 112; (6 Aug. 1941), 181–82; TGII 3 (25 Jan. 1942), 187 (1st quote); (28 Jan. 1942), 207 (2nd quote); (3 Mar. 1942), 401 (3rd quote); (4 Mar. 1942), 412–13 (4th quote); Harlan, , Im Schatten meiner Filme, 132–39.Google Scholar

106. Albrecht, , Nationalsozialistische Filmpolitik, xi (1st quote), 549Google Scholar; TGII 4 (11 May 942), 274; (15 May 1942), 294–95 (2nd quote); TGII 5 (24 July 1942), 180.

107. TGII 4 (18 June 1942), 550.

108. Regarding Kolberg, Harlan once again tries to document reluctance on his part in his memoirs, predictably supported by his wife Söderbaum. See Harlan, , Im Schatten meiner Filme, 180–94Google Scholar; Söderbaum, , Nichts bleibt immer so, 191–92.Google Scholar Also TGII 8 (7 May 1943), 221; (25 May 1943), 365; (14 June 1943), 475; TGII 9 (14 July 1943), 99–100; TGII 11 (7 Feb. 1944), 250; TGII 12 (21 Apr. 1944), 161; (12 June 1944), 451; TGII 14 (23 Dec. 1944), 469–70.

109. Söderbaum, , Nichts bleibt immer so, 191Google Scholar; TGII 8 (6 June 1943), 425 (quote).

110. Harlan, , Im Schatten meiner Filme, 94, 100Google Scholar; Söderbaum, , Nichts bleibt immer so, 131–32Google Scholar; TGII 4 (10 Apr. 1942), 77.

111. Emil, Jannings, Mein Leben (n.pl, n.d.)Google Scholar; Siegfried, Kracauer, From Caligari to Hitler: A Psychological History of the German Film (Princeton, 1974), 215–18Google Scholar; Lotte, Eisner, L'Ecran Démoniaque (édition definitive) (Paris, 1965), 219Google Scholar; Kreimeier, , The Ufa Story, 191–92.Google Scholar

112. Hull, , Film in the Third Reich, 182–83Google Scholar; Welch, , Propaganda and the German Cinema, 271–79Google Scholar; Kreimeier, , The Ufa Story, 295Google Scholar; Ohm Krüger: Die Lebenserinnerungen des Buren-Präsidenten: Neue berechtigte deutsche Ausgabe (Berlin, n.d.); Wilhelm, Ziegler, ed. Ein Dokumentenwerk über die englische Humanität (Berlin, n.d.).Google Scholar

113. TGII 1 (3 Aug. 1941), 169; (21 Sept. 1941), 464; TGII 2 (25 Oct. 1941), 176; (14 Nov. 1941), 286; (21 Nov. 1941), 329; (25 Nov. 1941), 364; (30 Nov. 1941), 404; (1 Dec. 1941), 10; TGII 3 (3 Feb. 1942), 244; (15 Mar. 1942), 473; TGII 4 (28 June 1942), 636.

114. TGII 5 (2 July 1942), 40–41.

115. TGII 5 (14 Aug. 1942), 312–13 (1st quote); TGII 6 (25 Oct. 1942), 182; TGII 9 (1 July 1943), 109; (17 July 1943), 116 (2nd quote); TGII 11 (14 Mar. 1944), 469; (28 Mar. 944), 570.

116. Kreimeier, , The Ufa Story, 296Google Scholar; Innes, Christopher D., Erwin Piscator’ Political Theatre: The Development of Modern German Drama (Cambridge, 1972).Google Scholar

117. Harlan, , Im Schatten meiner Filme, 119–20.Google Scholar

118. TGII 10 (16 Dec. 1943), 483–84.

119. Gustaf, Gründgens, “Lass mich ausschlafen: Neue Quellen zur Wirklichkeit und Legende des grossen Theatermannes, ed. Rolf, Badenhausen (Munich, 1982).Google Scholar

120. Der Kongress zu Nümberg vom 5. Bis 10. September 1934: Offizieller Bericht über den Verlauf des Reichsparteitages mit sämtlichen Reden (Munich, 1934)Google Scholar (a photo of Riefenstahl as she is directing the shooting is at the very back). Also see the partially apocryphal memoir by Riefenstahl, , The Sieve of Time: The Memoirs of Leni Riefenstahl (London, 1992), 101–315Google Scholar; Kreimeier, , The Ufa Story, 252.Google Scholar

121. Author’ recorded interview with former Swing Hanne-Lore Evers-Frauboes, Hamburg, 18 June 1988; Hildegard, Knef, The Gift Horse: Report on a Life (New York, 1971), 47Google Scholar; Hull, , Film in the Third Reich, 241–43Google Scholar; Welch, , Propaganda and the German Cinema, 100Google Scholar; Kreimeier, , The Ufa Story, 292Google Scholar; Kracauer, , From Caligari to Hitler, 226–29Google Scholar; Heide, Fehrenbach, Cinema in Democratizing Germany: Reconstructing National Identity After Hitler (Chapel Hill, 1995), 61, 85.Google Scholar