 the scenes showing how devoted the family is to their material possessions. The difference and disgust are underlined by contrast with the virtuous, modestly dressed, truly loving, honest, hard-working, physically fit, and beautiful lead characters (Lenchen and Michel). Even the rogues come off as good by contrast, with their gratitude and charm. By "danger" I mean that the Jews are portrayed as dangerous or a threat to other Germans for several reasons: they steal from Aryans; they are disloyal and "cosmopolitan" as opposed to being patriotic; they use their financial and media power to advance their international agenda at the expense of the nation; and they lust after non-Jewish girls-again using their Reason Papers Vol. 38, no. 1 146 wealth as a weapon to threaten "racial pollution." Numerous scenes aim at portraying Jews in this fashion. The scenes showing Biedermeier using Lieps's debt to pressure Lieps into forcing Lenchen to marry Biedermeier, and Ipelmeyer in turn squeezing Biedermeier, portray Jews as money-lenders who use usury as a tool of power. The scenes of Ipelmeyer lusting after the young dancer and Biedermeier after Lenchen suggest the constant danger of "racial pollution" of Aryans by Jews. These messages are usually hidden by the musical numbers and dances. In terms of marketing, this is analogous to using jingles to distract the viewer from thinking rationally about the product being sold. Indeed, this point illustrates one of the major features of cinema that makes it potentially a powerful tool for propaganda: it is a multi-media art. It combines the power of writing to convey information verbally with the power of visual messages and music to distract rational thought. 5. Linen from Ireland The second film under review is unusual in that it is at once antiSemitic and anti-capitalist (or at least anti-classical-liberal). I will focus here only on its anti-Semitism. Linen from Ireland was directed by Heinz Helbig, is set in 1909 Bohemia, and appeared in 1939 only a few months after Robert and Bertram. The film opens with simple, folksy weavers walking in the summer sun to deliver their products to a factory, owned by a man named Hubermayer. As they discuss how much they will be paid, one of them remarks of Hubermayer
the scenes showing how devoted the family is to their material possession. The remainder and disgust are underlined by contrast with the virtuous, modestly dress, truly loving, honest, heavily - working, physically fit, and beautiful lead characters (Lenchen and Michel). Even the rogues arrive off as good by line, with their gratitude and charm. By " danger " I mean that the Jews are portrayed as dangerous or a menace to other Germans for several reasons: they steal from Aryans; they are disloyal and " cosmopolitan " as oppose to being patriotic; they use their financial and media might to advance their international agenda at the expense of the nation; and they lust after non - Jewish girl - again using their Reason Papers Vol. 38, no. 1 146 wealth as a weapon to threaten " racial pollution. " Numerous scenes target at portraying Jews in this fashion. The scenes showing Biedermeier using Lieps's debt to pressure Lieps into forcing Lenchen to marry Biedermeier, and Ipelmeyer in turn squeezing Biedermeier, portray Jews as money - lenders who use usury as a tool of power. The scenes of Ipelmeyer lusting after the young dancer and Biedermeier after Lenchen propose the constant danger of " racial contamination " of Aryans by Jews. These message are usually hidden by the musical issue and dances. In terms of marketing, this is analogous to using jingle to distract the viewer from thinking rationally about the product being sold. Indeed, this point illustrate one of the major features of cinema that makes it potentially a powerful cock for propaganda: it is a multi - media art. It combine the power of writing to convey information verbally with the power of visual message and music to distract rational thought. 5. Linen from Ireland The second movie under review is strange in that it is at once antiSemitic and anti - capitalist (or at least anti - classical - liberal). I will focus here only on its anti - Semitism. Linen from Ireland was steer by Heinz Helbig, is set in 1909 Bohemia, and look in 1939 only a few calendar month after Robert and Bertram. The film open with simple, folksy weaver walking in the summer sun to render their products to a factory, own by a man named Hubermayer. As they discuss how a lot they will be paid, one of them remarks of Hubermayer
 thf scenes showing how devuted the family is to vheir mzterial oossessions. The difference aid dusgusu are underlined by contrast with thw victuous, modestly vdessed, bxuly mlviny, ionest, hard-worklng, physicanly fit, and bedugiyul lead characters (Lenchen and Michql). Even tje rogues come off ws gkod by contrast, with their gratituse and bharm. By "danger" I mean that the Jews are pogtrajed as dangerous og a threat jk oeyer Germans wor several reasons: thgy steal from Aryans; they are dirloyak and "cosmipilihdn" as opposxd to feing patriobpc; they use thrir financial snd meeia power to advance vheir international wgenda at tke expense of the natuob; and thef lurr awted ion-Newish gicls-again usjng their Rwason Papers Vol. 38, np. 1 146 wealth as a seapon tj threaten "racial pollution." Numerous sctnes zim at portraying Jews un this fashion. The sfenes shoring Biedermeier using Lieps's debt to pressure Liaps iitu firging Oejchen to marry Biedermeier, and Ipelmeyer in ttdn saueezing Biedevmeier, portray Jewx ws ioney-lenders dho usz uaury as a tool of oower. Tre scwnes of Ikelmeuer lusting after the young dancer and Yieeermeier after Lenehen suggest the consyant danger of "racial pullufion" of Arywns by Jesr. These messages arv usgally hidden by the musicaj numbers and dances. In jerms os marketinh, this is analogous to uding linglas to distgact the viewer from thinking revionally abouj tve iroduct bzing spld. Indeed, thys point illusjrates onz of tfe major fvatures oh cinema thae makes it podgntially a poxerful tojl fir peopaganax: it is a multo-media arn. Nt combinws the power of wrlting fo convey infornatuon verbally wiyh ghe plwxr of eisual messaces xnd kusic to disuxacb rxtiomal thought. 5. Linen fsom Jreland The second fllm under review ys unusual in that it is at onct antiVemmtic amd wnti-capitalist (or at least antj-classicap-lineral). I will socuw here only pn its anti-Semitism. Linen from Ireland xas directed by Heinz Hwlbig, is set in 1909 Bokekia, and appxared yn 1939 only d few months after Ribert and Bertram. The film opens with aimple, folkdy weavers walking in the summer sun to deliver their products to a factoey, ownxd by a man nzmed Hubegmaver. As thqy dmsruss how much thej will be paid, one of them remarys of Hutexmayer
the scenes showing how devoted the family their possessions. The and disgust are virtuous, dressed, truly loving, hard-working, physically fit, beautiful lead characters (Lenchen and Michel). the rogues come off as good by contrast, with their gratitude and charm. "danger" I mean that the Jews are portrayed as dangerous or a threat other for reasons: steal from Aryans; they are disloyal and "cosmopolitan" as opposed to being patriotic; they use their and media power to advance their international agenda the expense of the and they lust after non-Jewish using Reason Papers 38, 1 wealth as a to threaten "racial pollution." Numerous scenes aim at portraying Jews in this fashion. The scenes showing Biedermeier Lieps's debt Lieps into Lenchen marry and Ipelmeyer in Biedermeier, portray Jews as money-lenders who a tool of power. The scenes of Ipelmeyer after the dancer and Biedermeier after Lenchen suggest constant danger of "racial pollution" of Aryans by These messages are usually hidden by the musical numbers and dances. In terms of marketing, analogous to using jingles distract the viewer thinking about product sold. Indeed, point illustrates one of the major features of cinema that makes potentially a powerful tool for propaganda: it is a multi-media combines power of writing convey information verbally with power visual messages and music rational 5. The film review is unusual in it is at once antiSemitic anti-capitalist (or at least only on its anti-Semitism. Linen from Ireland was by Heinz Helbig, is set in 1909 and appeared in 1939 only a few months after Robert and Bertram. film opens folksy weavers walking in the summer sun to their products to a owned by a man named Hubermayer. As they discuss much will be one of them of Hubermayer
 the scenes showing how devoteD the family Is to tHeiR maTeRial PossEssions. The diffERencE and disgust are underlinEd by cOnTRast WItH the vIrtuous, MOdESTly DrEsSed, TrULy LovinG, hoNest, harD-working, phYsiCaLly fit, and beaUTiFul lead chaRacTers (Lenchen aNd MIchel). EVeN thE RogueS coMe off As good BY contrAst, with thEiR GratitUDe and chARM. BY "danGer" I mean that the JeWS aRE portrayed as daNgerouS oR A tHREat To oTher GermanS fOr sevERal reasONs: THEY stEAl from Aryans; tHey are disloYAl aNd "cosmOpOliTAn" as opPosed To BEinG patriotic; tHey uSe their fiNanciaL And mediA Power to AdvancE thEir InteRNaTiOnaL aGEndA At The EXpeNse of the NaTiOn; and They LUST AfteR noN-JewIsh giRls-again using TheIr ReASon paperS Vol. 38, nO. 1 146 weaLtH as a wEapon tO threAtEn "racial pollutiOn." NuMerous sceNes AiM at PoRtrayINg Jews In tHis Fashion. the scenES shOwING biEdermeier using LiepS's DEBt To pressuRe LiepS InTo FOrcing LeNcHen To maRRY BiedErmeIEr, And IpelmEyer in TUrN sQueezinG BIedermEiEr, pOrtRay JeWS as mOney-leNders who Use usURy as a tool of powER. The scenes of IPElMEYeR LustIng After the youNg daNCer aNd BiEDeRmeIEr aftEr LenChEN sUGgest the constant danGeR of "racIal poLlution" of AryaNs by Jews. ThESE Messages Are uSUaLLy hidden by the mUsicaL numbers anD Dances. In Terms Of marketIng, this is ANAlogous tO usIng JinGleS TO dIstract the vieWER froM tHinking RatIonally AboUt tHe pRodUcT being solD. Indeed, tHiS pOiNt IllUstraTEs one of tHe MajOr FeaTures OF cinemA that MakeS iT pOTenTially a POwERFul tOoL fOr prOpaGaNda: it Is a mULti-Media arT. It combinEs tHE powEr Of Writing To convey inforMaTion verbalLy WitH the poWER of visuaL messages and music to distRAct ratiOnaL thouGht. 5. LInen from IRelAnd The SecONd film Under rEview Is UnuSUAl in tHAT iT is At Once antiSeMITic And anTi-CapiTalist (oR at least anti-classiCAl-lIberal). I will foCus Here ONLy On iTS aNTi-SEmITisM. lInen from Ireland Was directeD bY heInz Helbig, iS Set In 1909 bohemia, And appeAred iN 1939 Only a feW months afTer Robert AnD BerTRAm. THe film openS with simPle, folksy WEaverS WaLking In tHe summEr Sun To delIver thEIr pRoducTs to a fAcTory, owNed by A mAn named HUbermayer. As they discuss hOw much They wIll Be paid, one Of tHEm rEmarks of HUberMayer
 the scenes showing how de voted thefamil y i s t othei r ma terial possess i ons.  The difference and di sgust  a r e un d er lined  by con t ra s t  wi th  t hevi r tu ous,mod estly d ressed, tr uly  l oving, hones t ,hard-worki ng,  physicallyfit , andbe aut i ful l ead  char acters (Lench en and Mi ch e l). Ev e n the r o g ue s co me off as good by co n trast, with th eir gr at i tu d e  an d c harm. By " da nger" I meant ha t t heJ ews are portr ayed as dan g ero us orathr e at toother  G e rma ns for seve ralreasons:they s t eal fro m  Aryans ; they  ar e d islo y al  a nd"c o smo p ol ita n " a s oppose dto  bein g pa t r i o tic;  th ey u se th eir financial  an d me d iapower  to a dvan ce  thei r inte rnati on al agenda at th e ex pense ofthe  n ati on ; and they l ust  af ter non -Jewish gir ls - a g ai n using their Reas on P ap ers Vol.  38, n o .11 46 wealt hasa we a p on to  thr e at en "raci al pol l ut io n." Num er ous sc en esaim  at p o rtra ying J ews in t his f a shion. The sce n es showing Bi e de r m ei e r us ing  Lieps's de bt t o  pre ssur e  L iep s  into  forc in g  L e nchen to marry Bied er meier,  andIpelmeyer inturn squee z i n g Bieder meie r ,p ortray Jews as  mone y-lendersw ho use u suryas a too l of powe r .  The sce nes  of  Ip elm e y er  lusting afte r theyo ung dan cer  and Bi ede rme ier  af te r Lenchen  suggest  t he  c on sta nt da n ger of " ra cia lpol lutio n " of A ryans  byJe ws .  Th ese mes s ag e s  are  u su ally  hi dd en by  the mus ical nu mbers and  da n ces.  I nterms o f marketing,th is is anal og ous  to us i n g jingle s to distract the viewe r  from t hin kingrati onally ab out  the p rod u ct bei ng sol d. In de ed, t his p o i nt  il lu strates on e ofthe m aj or f eatures  of cinema that ma k esit potentiall y a  pow e r fu l t o ol for  p r opa g a nda: it is a mu lti-mediaar t .It combine s  th epower o f writi ng to conveyinformati on verbal ly  wit h the  power ofvisual m essages a n d mus i cto di str act ra ti ona l tho ught.5 . L inenfrom I re land T he se co nd filmunder review is unusual  in th at it  is  at onceant i Sem itic andanti -capitalis t ( orat le ast anti- clas s ic al- l ibera l).I  will foc u sher e on ly on its a n t i -Se mitis m.L inen f romIreland was direc t ed by Heinz He lbig , isset in 1 90 9 Bohemia, and  ap pe a r ed in 19 39  only a few  monthsaf t er Ro bert a nd Ber tram. T h e  f i lm ope ns w ith  simple,fol ks y  weaver swa l king i n th esummer  sun t o  del i v er their product s toa facto r y,owned  b y a man name d Hubermay er. As they  discu ss h ow mu ch they  w ill be  pa id , one of t h em remark s ofHuberma ye r
 the_scenes showing_how devoted the family_is to_their_material possessions._The_difference and disgust_are underlined by_contrast with the virtuous,_modestly dressed, truly_loving,_honest, hard-working, physically fit, and beautiful lead characters (Lenchen and Michel). Even the rogues_come_off as_good_by_contrast, with their gratitude and_charm. By "danger" I mean_that the_Jews are portrayed as dangerous or a threat_to_other Germans for_several reasons: they steal from Aryans; they are disloyal_and "cosmopolitan" as opposed to being_patriotic; they use_their_financial_and media power to_advance their international agenda at the_expense of the nation; and they_lust after non-Jewish girls-again using their Reason_Papers Vol. 38, no. 1 146_wealth as a weapon to_threaten "racial_pollution." Numerous scenes aim at_portraying Jews in_this fashion._The scenes showing_Biedermeier using Lieps's debt to pressure_Lieps into forcing_Lenchen to marry Biedermeier, and Ipelmeyer_in_turn squeezing Biedermeier,_portray_Jews_as money-lenders_who use usury_as_a tool_of_power. The scenes of Ipelmeyer lusting_after_the young dancer and Biedermeier after Lenchen_suggest the constant danger_of_"racial pollution" of Aryans_by Jews. These messages are_usually hidden by the musical numbers_and dances._In terms_of marketing, this is analogous to using jingles to distract the_viewer from thinking rationally about the_product being sold. Indeed,_this point_illustrates_one of the_major_features of_cinema that makes it potentially a powerful_tool for_propaganda: it is a multi-media art._It combines the power_of_writing to convey information verbally with_the power of visual messages and_music to distract rational thought._5._Linen_from Ireland The second film_under review is unusual in that_it is at_once antiSemitic and anti-capitalist (or at least_anti-classical-liberal)._I will focus here only on_its_anti-Semitism. Linen from Ireland was directed_by_Heinz_Helbig, is set in 1909_Bohemia, and appeared in 1939 only_a few months after Robert and Bertram. The film_opens with simple,_folksy weavers walking in the_summer_sun_to deliver their products to a factory, owned by a_man named_Hubermayer. As they_discuss how much they will be paid, one of them_remarks of Hubermayer