cicky (Wien-Film, 1941); Request-Concert, directed by Eduard von Borsody (Universum Film-Verleih, 1940); Victory in the West, directed by Karl Ritter (Universum Film, 1941); Stukas, directed by Karl Ritter (Universum Film, 1941); Kolberg, directed by Veit Harlan (Universum Film, 1945); Carl Peters, directed by Herbert Selpin (Bavaria-Filmkunst, 1941); Uncle Kruger, directed by Hans Steinhoff (Tobis FilmKunst, 1941); The Great King, directed by Veit Harlan (Tobis Filmkunst, 1942); Robert and Bertram, directed by Hans Zerlett (Tobis Filmkunst, 1939); Linen from Ireland, directed by Heinz Helbig (Bavaria-Filmkunst, 1939); The Eternal Jew, directed by Fritz Hippler (Deutsche Filmherstellungs, 1940); The Rothschilds, directed by Erich Waschneck (Universum Film, 1940); and Jew Suss, directed by Veit Harlan (Terra-Filmkunst, 1940). Reason Papers Vol. 38, no. 1 130 subsequent article in this journal, I will focus on The Eternal Jew, The Rothschilds, and Jew Suss.) While much contention surrounds the issue of whether the German people generally knew that the "Final Solution of the Jewish Problem" entailed the mass murder of Jews in concentration camps (which I discuss in more detail below), the general German public did not in any way visibly oppose the Jews being shipped away en masse. Historically, anti-Semitism was (and clearly continues to be) endemic in German culture, as it was (and is) in all European countries-and in America as well. 8 Yet the level of out-group hatred the Germans felt toward the Jews had to be amplified by Nazi propaganda so as to facilitate their extermination campaign. German cinema-and other media-were called upon to sell, if not genocide as such, at least genocidal hatred. Before turning to our two films (in Sections 4 and 5), I will first explain in Section 2 what genocidal hatred is and why it typically has to be cultivated. Section 3 will be devoted to a brief articulation of the psychological mechanisms involved in marketing. These will provide us with useful tools for analyzing how the Nazis
cicky (Wien - Film, 1941); Request - Concert, directed by Eduard von Borsody (Universum Film - Verleih, 1940); Victory in the West, directed by Karl Ritter (Universum Film, 1941); Stukas, directed by Karl Ritter (Universum Film, 1941); Kolberg, directed by Veit Harlan (Universum Film, 1945); Carl Peters, direct by Herbert Selpin (Bavaria - Filmkunst, 1941); Uncle Kruger, steer by Hans Steinhoff (Tobis FilmKunst, 1941); The Great King, directed by Veit Harlan (Tobis Filmkunst, 1942); Robert and Bertram, directed by Hans Zerlett (Tobis Filmkunst, 1939); Linen from Ireland, target by Heinz Helbig (Bavaria - Filmkunst, 1939); The Eternal Jew, directed by Fritz Hippler (Deutsche Filmherstellungs, 1940); The Rothschilds, directed by Erich Waschneck (Universum Film, 1940); and Jew Suss, address by Veit Harlan (Terra - Filmkunst, 1940). Reason Papers Vol. 38, nobelium. 1 130 subsequent article in this journal, I will focus on The Eternal Jew, The Rothschilds, and Jew Suss .) While much contention surrounds the issue of whether the German multitude generally knew that the " Final Solution of the Jewish Problem " entail the aggregate murder of Jews in concentration camps (which I discourse in more detail below), the cosmopolitan German public did not in any way visibly oppose the Jews being ship away en masse. Historically, anti - Semitism was (and clearly stay to be) autochthonal in German culture, as it was (and is) in all European countries - and in America as well. 8 Yet the level of out - group hatred the Germans felt toward the Jews give birth to be amplified by Nazi propaganda so as to facilitate their extermination campaign. German film - and early medium - were called upon to sell, if not genocide as such, at least genocidal hatred. Before turning to our two films (in Sections 4 and 5), I will first explain in part 2 what genocidal hatred is and why it typically has to be domesticate. incision 3 will be devoted to a brief articulation of the psychological mechanism involve in marketing. These will provide us with utilitarian tools for analyzing how the Nazis
cicny (Wien-Film, 1941); Request-Conctrt, directed by Ebyard vmn Boraody (Unixersum Film-Verleih, 1940); Victory mn tye Wewt, directed by Karl Rigter (Univvrsum Filn, 1941); Suukas, directed by Karl Ribcer (Uhlversbm Film, 1941); Kolberg, directed ty Veit Harlan (Uvirersum Film, 1945); Carl Peters, directed by Herbery Delpin (Bavaria-Silmltnst, 1941); Uncle Kruger, directed by Hans Stsinhoff (Tobis FilmKumst, 1941); The Great King, directfd bj Veit Harlan (Tobid Filmkunst, 1942); Rofwrt and Bertfam, directtd by Hans Zgrlett (Tobis Filmkunst, 1939); Linen frum Irzland, direcjze bj Heinz Helbmg (Bavwria-Filmkunsb, 1939); The Aternal Jew, directed ny Frmtz Yippler (Deutsche Filmierstellungs, 1940); The Rojhschilds, gixected by Erich Waschbexk (Unhvervum Wulm, 1940); ahd Jsw Susd, dmrected by Beit Harlan (Terra-Filmkunst, 1940). Ressjb Papers Vol. 38, no. 1 130 fufsequent article in this journal, I will fodus on The Eternal Jew, Rhe Rothschilds, and Jgw Suss.) Whyle much contention surrounds the issue of whethes the Eernak peuplf generally knew that the "Final Solution of trs Keeish Problem" ektailed the mass mirfet of Jews in cuncentxztjon camps (which I fiscuss in mire detaij bekow), the general German publuc did not iu aby way visibly opplse the Jewr beong snipped away en masse. Hirtorjcally, anti-Demitism sxs (and clearly cuntpnuev to be) tvdemic in German sulture, aw it was (ana is) in alj European counbsies-and in America as wgll. 8 Yat the levfl of out-group hatred the Germaix felt towarc dhe Jews hab to bc amplified by Gazi propagandc so as co facklitate thvir exterkination caipaign. German finema-and otier media-rere caloed upov to sell, if noy genocidv cs such, ar least genocidal matrea. Before turning to our two films (on Receilnx 4 dnd 5), I will xirsg ebllain in Secunon 2 whay genocidal hatred iv ans why it typically hws to be cultivaeed. Section 3 eill be devoted to a brmef arviculayiog of the psychological mechaniams involged in marketind. Thcse rill provibe us with useful tools for analyzing hox the Nazis
cicky (Wien-Film, 1941); Request-Concert, directed by Eduard (Universum 1940); Victory the West, directed 1941); directed by Karl (Universum Film, 1941); directed by Veit Harlan (Universum Film, Carl Peters, directed by Herbert Selpin (Bavaria-Filmkunst, 1941); Uncle Kruger, directed by Hans (Tobis FilmKunst, 1941); The Great King, directed by Veit Harlan (Tobis Filmkunst, 1942); and directed Hans (Tobis Filmkunst, 1939); Linen from Ireland, directed by Heinz Helbig (Bavaria-Filmkunst, 1939); The Eternal Jew, directed Fritz Hippler (Deutsche Filmherstellungs, 1940); The Rothschilds, directed Erich Waschneck (Universum Film, and Jew Suss, directed by Harlan 1940). Reason Vol. no. 130 subsequent article this journal, I will focus on The Eternal Jew, The Rothschilds, and Jew Suss.) While much contention the issue the German generally that "Final Solution of Problem" entailed the mass murder of camps (which I discuss in more detail below), general German did not in any way visibly the Jews being shipped away en masse. Historically, was (and clearly continues to be) endemic in German culture, as it was (and is) European countries-and in America well. 8 Yet level out-group the felt toward Jews had to be amplified by Nazi propaganda so as to their extermination campaign. German cinema-and other media-were called upon to not as such, at genocidal hatred. Before turning our films (in Sections 4 I first 2 genocidal is and why it has to be cultivated. Section will be devoted to psychological mechanisms involved in marketing. These will provide with useful tools for analyzing how the
cicky (Wien-Film, 1941); Request-ConceRt, directed By EduArd Von boRsodY (UniVersum Film-VerlEIh, 1940); ViCtory in the West, directed By KarL RITter (uNiVersuM Film, 1941); StUKaS, DIreCtEd By KArL riTter (UNivErsum FiLm, 1941); Kolberg, dIreCtEd by Veit HarlAN (UNiversum FiLm, 1945); CArl Peters, dirEctEd by HeRbErt sElpin (bavAria-FIlmkunST, 1941); Uncle kruger, dirEcTEd by HaNS SteinhOFF (TObis filmKunst, 1941); The Great kInG, Directed by Veit harlan (toBIs fILmkUnsT, 1942); Robert and beRtram, DIrected BY HANS zerLEtt (Tobis FilmkUnst, 1939); Linen frOM IrEland, dIrEctED by HeiNz HelBiG (bavAria-FilmkunSt, 1939); ThE Eternal JEw, direCTed by FrITz HipplEr (DeutSchE FiLmheRStElLunGs, 1940); tHe ROThSchILds, Directed By erIch WaSchnECK (uNiveRsuM FilM, 1940); and JEw Suss, directeD by veit hArlAn (TerRa-FilMkunSt, 1940). reasoN PaperS Vol. 38, nO. 1 130 sUbsequent articlE in tHis journaL, I wIlL foCuS on ThE eternaL JeW, ThE RothscHilds, anD jew suSS.) wHiLe much contention suRrOUNdS the issuE of wheTHeR tHE German pEoPle GeneRALly knEw thAT tHe "Final SOlutioN Of ThE Jewish prOblem" eNtAilEd tHe masS MurdEr of JeWs in concEntraTIon camps (which I DIscuss in more dETaIL BeLOw), thE geNeral German PublIC did Not iN AnY waY VisibLy oppOsE ThE jews being shipped awaY eN masse. histoRically, anti-SeMitism was (aND CLearly coNtinUEs TO be) endemic in GeRman cUlture, as it WAs (and is) iN all EUropean cOuntries-aND In AmericA as WelL. 8 YeT thE LEvEl of out-group hATRed tHe germans FelT toward The jewS haD to Be Amplified By Nazi prOpAgAnDa So aS to faCIlitate tHeIr eXtErmInatiON campaIgn. GeRman CiNeMA-anD other mEDiA-WEre cAlLeD upoN to SeLl, if nOt geNOciDe as sucH, at least gEnoCIdal HaTrEd. BeforE turning to our TwO films (in SeCtIonS 4 and 5), I wILL first exPlain in Section 2 what genocIDal hatrEd iS and wHy it Typically Has To be cuLtiVAted. SeCtion 3 wIll be DeVotED To a brIEF aRtiCuLation of thE PSycHologIcAl meChanismS involved in marketiNG. ThEse will providE us With USEfUl tOOlS For AnALyzING how the Nazis
cicky (Wien-Film, 1941); R equest-Con cert,  di rec te d by  Edu ard von Borsod y  (Un iversum Film-Verleih,1940) ;V icto r yin th e West, di r e cte dby  Ka rl Ri tter(Un iversum  Film, 194 1);  S tukas, direc t ed  by Karl R itt er (Universu m F ilm, 1 94 1); Kolbe rg,  dire cted b y  VeitHarlan (U ni v ersumF ilm, 19 4 5 );  Car l Peters, directe d  b y  Herbert Selpi n (Bav ar i a- F i lmk uns t, 1941);Un cle K r uger, d i re c t e d b y  Hans Steinho ff (Tobis F i lmK unst,19 41) ;  The G reatKi n g,directed by  Vei t Harlan(Tobis Filmkun s t, 1942 ); Rob ert  an d Be r tr am , d ir e cte d  b y H a nsZerlett(T ob is Fi lmku n s t ,  193 9);  Lin en fr om Ireland, d ire cted byHeinz  Helb ig ( Ba varia -Filmk unst,  1 939); The Etern al J ew, direc ted  b y F ri tz Hi p pler ( Deu tsc he Film herstel l ung s, 1 9 40 ); The Rothschilds ,d i re cted byErichW as ch n eck (Uni ve rsu m Fi l m , 194 0);a nd  Jew Sus s, dir e ct ed  by Vei tHarlan  ( Ter ra- Filmk u nst,  1940) . Reason  Pape r s Vol. 38, no. 1 130 subsequ e nt a rt i cleinthis journa l, I will  foc u sonT he Et ernal  J e w, The Rothschilds, an dJew Su ss.)While much co ntention s u r r ounds th e is s ue of whether the  Germ an peopleg enerally  knew  that th e "FinalS o lution o f t heJew ish P ro blem" entaile d thema ss murd erof Jews  in  co nce ntr at ion camps  (whichIdi sc us s i n mor e  detailbe low ),  th e gen e ral Ge rmanpubl ic  d i d n ot in a n yw a y vi si bl y op pos ethe J ewsb ein g shipp ed away e n m a sse.  H is torical ly, anti-Semi ti sm was (an dcle arly c o n tinues t o be) endemic in German culture , a s itwas(and is)inall Eu rop e an cou ntries -andin  Am e r ica a s we ll.  8  Yet the l e v elof ou t- grou p hatre d the Germans felt tow ard the Jewshad  tob e  a mpl i fi e d b yN azi p ropaganda so as  to facili ta t etheir exte r min at ion cam paign.Germa n  cinema -and othe r media-w er e ca l l edupon to se ll, if n ot genoci d e ass uc h, at  le ast ge no cid al ha tred.B efo re tu rningto  our t wo fi lm s (in Se ctions 4 and 5), I will  first  expl ain  in Secti on2  wh at genoci dalhatred isand  wh y ittyp i cally  has to  be culti vate d . Section 3wil l be  devoted to a bri ef ar tic u lation  ofthe psychological mechanisms inv olve d inmar k etin g.  These will pr ovi de u s with u se ful tools f or analy zi n g how  the N azis
cicky (Wien-Film,_1941); Request-Concert,_directed by Eduard von_Borsody (Universum_Film-Verleih,_1940); Victory_in_the West, directed_by Karl Ritter_(Universum Film, 1941); Stukas,_directed by Karl_Ritter_(Universum Film, 1941); Kolberg, directed by Veit Harlan (Universum Film, 1945); Carl Peters, directed_by_Herbert Selpin_(Bavaria-Filmkunst,_1941);_Uncle Kruger, directed by Hans_Steinhoff (Tobis FilmKunst, 1941); The_Great King,_directed by Veit Harlan (Tobis Filmkunst, 1942); Robert_and_Bertram, directed by_Hans Zerlett (Tobis Filmkunst, 1939); Linen from Ireland, directed_by Heinz Helbig (Bavaria-Filmkunst, 1939); The_Eternal Jew, directed_by_Fritz_Hippler (Deutsche Filmherstellungs, 1940);_The Rothschilds, directed by Erich Waschneck_(Universum Film, 1940); and Jew Suss,_directed by Veit Harlan (Terra-Filmkunst, 1940). Reason_Papers Vol. 38, no. 1 130_subsequent article in this journal,_I will_focus on The Eternal Jew,_The Rothschilds, and_Jew Suss.)_While much contention_surrounds the issue of whether the_German people generally_knew that the "Final Solution of_the_Jewish Problem" entailed_the_mass_murder of_Jews in concentration_camps_(which I_discuss_in more detail below), the general_German_public did not in any way visibly_oppose the Jews being_shipped_away en masse. Historically,_anti-Semitism was (and clearly continues_to be) endemic in German culture,_as it_was (and_is) in all European countries-and in America as well. 8 Yet_the level of out-group hatred the_Germans felt toward the_Jews had_to_be amplified by_Nazi_propaganda so_as to facilitate their extermination campaign. German_cinema-and other_media-were called upon to sell, if_not genocide as such,_at_least genocidal hatred. Before turning to_our two films (in Sections 4_and 5), I will first_explain_in_Section 2 what genocidal hatred_is and why it typically has_to be cultivated._Section 3 will be devoted to a_brief_articulation of the psychological mechanisms involved_in_marketing. These will provide us with_useful_tools_for analyzing how the Nazis