critics have assumed that his sketches were made before filming, this is not the case. According to Kurt Gerron's papers, the original title was Die jüdische Selbstverwaltung in Theresienstadt (The Jewish Self-Government in Theresienstadt); later, he used the short title Theresienstadt. Excerpts of the film discovered in the Israeli archive in 1988 revealed the official title to be Theresienstadt, with the subtitle Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet (A Documentary Film from the Jewish Settlement Area). According to Margry, the Nazis called it a "documentary film" in order to cast the film as an authentic representation of Theresienstadt life rather than staged propaganda, while the last three words imply that there were more "Jewish settlements" like Theresienstadt. It is believed that Jewish prisoners gave the film an ironic title, Der Führer schenkt den Juden eine Stadt, ("The Führer Gives a City to the Jews"), during the final months of the war, which was used as the title until 1988. The misconception about the correct title has been used in a number of analyses of Nazi propaganda by film critics. Film historians have often claimed that the film was ordered by Goebbels, but that is not the case. Many scholars have claimed that the film was ordered after the June Red Cross visit, but it was prepared from late 1943. The earlier origin of the film discredits many theories that have been offered for why the Nazis ordered the film. It has also been claimed that Heinrich Himmler was closely involved in the production of the film and showed it to the Western Allied agents with whom he was conducting secret negotiations in late 1944. However, the only evidence suggesting that he knew of the film's existence is a letter between his secretary, Rudolf Brandt, and personal masseur, Felix Kersten, in March or April 1945. Legacy The German film website filmportal.de describes the film as "one of the most cynical and despicable Nazi propaganda films". In a review of the 2002 Canadian documentary Prisoner of Paradise, which focused on Gerron's role in the film, Entertainment Weekly states that the 1944 film was "a work of propaganda so perverse one is shocked to realize that even the Nazis could have thought of it". For many years, it was assumed that the participants in the film were collaborators, and they were judged very harshly. Karel Pečený was convicted of collaborationism in 1947 and