Deutschland" (Germany is bleeding), "Das junge Deutschland marschiert" (The German Youth is on the March). Herbert Gerdes directed five Nazi propaganda films: Erbkrank (1936), Alles Leben ist Kampf (1937), Was du Ererbt (1938), Schuld oder Schein (1921), and Das Große Geheimnis (1920). Nazi propagandist Hans Traub, who had earned his PhD in 1925 with a dissertation on the press and the German revolutions of 1848–49, wrote in the essay "The film as a political instrument" in 1932: Without any doubt the film is a formidable means of propaganda. Achieving propagandistic influence has always demanded a ‘language’ which forms a memorable and passionate plot with a simple narrative. … In the vast area of such ’language’ that the recipients are directly confronted by in the course of technical and economical processes, the most effective is the moving picture. It demands permanent alertness; it’s full of surprises concerning the change of time, space, and action; it has an unimaginable richness of rhythm for intensifying or dispelling emotions. Goals of the Nazi film policy Goebbels, who appointed himself "Patron of the German film", believed that a national cinema which was entertaining and put glamour on the government would be a more effective propaganda instrument than a national cinema in which the NSDAP and their policy would have been ubiquitous. Goebbels emphasized the will to end the "shamelessness and tastelessness" that he thought could be found in the former movie industry. The main goal of the Nazi film policy was to promote escapism, which was designed to distract the population and to keep everybody in good spirits; Goebbels indeed blamed defeat in World War I on the failure to sustain the morale of the people. The open propaganda was reserved for films like Der Sieg des Glaubens and Triumph des Willens, records of the Nuremberg rallies, and newsreels. There are some examples of Nazi-era feature films that deal with the NSDAP or with party organizations such as the Sturmabteilung, Hitler Youth or the National Labour Service, one example being Hitlerjunge Quex about the Hitler Youth. Another example is the anti-semitic feature film Jew Suss. The propaganda films that refer directly to Nazi politics amounted to less than a sixth of the whole national film production, which mainly consisted of light entertainment films. For conceiving a Nazi film theory, Goebbels suggested as formative material the Hamburg Dramaturgy and Laokoon, or the Limitations of Poetry by