 audience. In Robert and Bertrand, we see the townspeople applaud as the vagabonds sing and dance. In Linen from Ireland, we see the humble townsfolk at the beginning eager to support the honest Hubermayer. The mechanism of sympathy is also commonly exploited in both marketing and propaganda. In Robert and Bertrand, we feel sympathy for the honest businessman Lieps, who is pressured to give up his tavern or force his daughter to marry the manipulative money-lender. In Linen from Ireland, we feel sympathy for the honest tradesmen and their families whose livelihoods the evil Kuhn wishes to destroy. We also feel sympathy for the two Aryan 40 Welch, Propaganda and the German Cinema 1933-1945, p. 269. Reason Papers Vol. 38, no. 1 156 maidens (Lenchen and Lilly), who are the targets of the libidinous designs of Jewish malefactors (Biedermeier and Kuhn, respectively). Salience is another commonly exploited mechanism in marketing and propaganda. In the films under review, the main Jewish characters are shown as strikingly different. The Ipelmeyer family, with its garish looks, gaudy clothes, luxurious home, and coarse behavior and speech, strike the viewer as grotesque. The scenes of Kuhn and his uncle at his hotel room are also striking in showing Kuhn to be a dissembler, hiding his "true" background. Also salient is Kuhn's materialistic, rather than romantic, view of love; for him, Lilly is a prize in a power-contest. The horrified viewer yet finds it difficult to turn away from such displays. Association (both positive and negative) is among the most commonly used mechanisms in both marketing and propaganda. In seeing handsome, honest, and decent "Aryan" characters, the viewer positively associates honesty, cleanliness, and decency with non-Jewish ethnic Germans. Conversely, he sees ugly, duplicitous, and manipulative Jewish characters, so that he negatively associates crookedness, dirtiness, and craftiness with being Jewish. A "stereotype" is a fixed over-generalized belief or set of beliefs about a group of people or things. 41 When we stereotype groups of people, we are engaging in social categorization. This can lead to prejudice and discrimination, especially if the underlying stereotype is negative. The films under study here most centrally use the mechanisms of contrast
audience. In Robert and Bertrand, we see the townspeople applaud as the vagabonds sing and dancing. In Linen from Ireland, we examine the humble townsfolk at the beginning eager to confirm the good Hubermayer. The mechanism of sympathy is also commonly exploit in both marketing and propaganda. In Robert and Bertrand, we feel sympathy for the dependable businessman Lieps, who is pressured to give up his tavern or wedge his daughter to marry the manipulative money - lender. In Linen from Ireland, we feel sympathy for the honest shopkeeper and their families whose livelihoods the evil Kuhn wishes to destroy. We also feel sympathy for the two Aryan 40 Welch, Propaganda and the German Cinema 1933 - 1945, p. 269. Reason Papers Vol. 38, nobelium. 1 156 maidens (Lenchen and Lilly), who are the targets of the libidinous design of Jewish malefactors (Biedermeier and Kuhn, respectively). Salience is another commonly exploit mechanism in marketing and propaganda. In the movie under review, the main Jewish characters are shown as strikingly different. The Ipelmeyer syndicate, with its garish looks, gaudy clothes, luxurious home, and coarse behavior and speech, strike the viewer as grotesque. The scenes of Kuhn and his uncle at his hotel room are also striking in showing Kuhn to be a dissembler, hiding his " truthful " background. Also salient is Kuhn's bourgeois, preferably than quixotic, view of love; for him, Lilly is a loot in a power - contest. The horrified viewer yet finds it unmanageable to turn away from such displays. Association (both positive and negative) is among the most commonly used mechanisms in both marketing and propaganda. In seeing fine-looking, honest, and becoming " Aryan " characters, the viewer positively associates honesty, cleanliness, and decency with non - Jewish ethnic german. Conversely, he sees ugly, duplicitous, and manipulative Jewish character, so that he negatively consort crookedness, dirtiness, and craftiness with being Jewish. A " stereotype " is a fix over - generalize belief or set of belief about a group of people or thing. 41 When we stereotype group of people, we are engage in social categorization. This can lead to prejudice and discrimination, especially if the underlying stereotype is minus. The films under study here most centrally use the mechanisms of contrast
 aufience. In Robert and Berurand, we see the joqnspeo'le appmaud as ghe vagabonds sing and dance. Ib Lintu from Ireland, we sed the humhle townwfolj at the bejjnning ccger fl su'pirt the honest Hubermayes. The mechanisk uf sympathy is also commonly exploiteq in boyh marketing and prokagwnda. Pn Robert and Bertrand, we feel aympathj for the honest nusinessman Lieps, who is pgesskred to give up hid tavern or forsw his daughtdr to marrj the manipolative money-lender. In Linen froo Irekand, we fegl sjkpathy for vhe hogest tradesmcm and dheir fsmilies whose kivxlihiods the evil Kuhn wivhes to destroy. We also feen aympathy for the rwi Arydn 40 Felcf, Prupafaida and tje Jerman Cineja 1933-1945, p. 269. Reasin Papers Vol. 38, no. 1 156 mwpcens (Lenchen and Lyljy), who are the targets of the libidinouv dssigns of Jewish malefaxtors (Biedermeier and Kuhn, res[ectively). Salience is another commonly exploited kechaiirm nk oqrneting and propaganda. In the films under reviqs, uhe main Jewish cmaracters are showm ws ftrikingly diwferenc. Tge Ipelmeyer familj, with yts gqrish loohs, gsudy clothes, luxurious home, and coarse yehqvior and speech, scrike the vizwer ax groyesque. The scenes of Kukn and his uncle wt his hofdl room are also stgikitg in showing Kuhn to be a dissemblxr, hibing his "trug" backgwound. Also salictt is Kuhn's materiwlistnc, radher than gomantic, view of love; for him, Lmkly is a priee hn d power-cjntesb. The horrified viewer yet fiuds it dnfficuut to turn away fcom such dis[lays. Associadlon (both posmtive and negqtivw) is amuvg the most cokmonly usvd mecyanisms in both mavketivf and propagandc. Un seeing handspme, hogedt, agg decent "Arydn" cfarxvters, the vitcer oosiyively associates hotestg, cleanliness, and cegency wity non-Jewysh ethnic Getmans. Conversely, ht sees uguy, dullisitous, and manipulative Jewish charactegs, fo that he nqgatlveli associatex crookedness, dirtiness, and craftiness xith being Jewish. A "stgreotype" is a fixed orev-generalized beliqf or set of beliefs about a troup of people ov things. 41 When we stersotype grouos of people, we are engaging in social categorization. This can lead to prwjudicx wnd discrimjnatoon, evpzciclly if the nnderlying stereonype is negative. The films under study harz most centrally use the mechsnksms of contrxst
audience. In Robert and Bertrand, we see applaud the vagabonds and dance. In the townsfolk at the eager to support honest Hubermayer. The mechanism of sympathy also commonly exploited in both marketing and propaganda. In Robert and Bertrand, we sympathy for the honest businessman Lieps, who is pressured to give up his or his to the manipulative money-lender. In Linen from Ireland, we feel sympathy for the honest tradesmen and their whose livelihoods the evil Kuhn wishes to destroy. also feel sympathy for two Aryan 40 Welch, Propaganda the Cinema 1933-1945, 269. Papers 38, no. 1 maidens (Lenchen and Lilly), who are the targets of the libidinous designs of Jewish malefactors (Biedermeier and respectively). Salience commonly exploited in and In the films the main Jewish characters are shown The Ipelmeyer family, with its garish looks, gaudy luxurious home, coarse behavior and speech, strike the as grotesque. The scenes of Kuhn and his at his hotel room are also striking in showing Kuhn to be a dissembler, hiding background. Also salient is materialistic, rather than view love; him, is a in a power-contest. The horrified viewer yet finds it difficult to away from such displays. Association (both positive and negative) is most used mechanisms in marketing and propaganda. In handsome, and decent "Aryan" characters, positively honesty, with ethnic Conversely, he sees ugly, and manipulative Jewish characters, so he negatively associates crookedness, Jewish. A "stereotype" is a fixed over-generalized belief set of beliefs about a group of or things. 41 When we stereotype groups of people, we are engaging social categorization. lead to prejudice and discrimination, especially if the stereotype is negative. The under study here most centrally use the mechanisms of
 audience. In Robert and BertraNd, we see the TownsPeoPle ApPlauD as tHe vagabonds sinG And dAnce. In Linen from Ireland, We see ThE HumbLE tOwnsfOlk at thE BeGINniNg EaGer To SUpPort tHe hOnest HuBermayer. ThE meChAnism of sympaTHy Is also commOnlY exploited in BotH markeTiNg aND propAgaNda. In robert ANd BertRand, we feeL sYMpathy FOr the hoNESt BusiNessman Lieps, who is PReSSured to give up hIs taveRn OR fORCe hIs dAughter to mArRy the MAnipulaTIvE MONey-LEnder. In Linen fRom Ireland, wE FeeL sympaThY foR The honEst trAdESmeN and their faMiliEs whose liVelihoODs the evIL Kuhn wiShes to DesTroY. We aLSo FeEl sYmPAthY FoR thE Two aryan 40 WelCh, prOpagaNda aND THE GerMan cineMa 1933-1945, p. 269. ReAson Papers Vol. 38, No. 1 156 mAideNS (LeNchen And LiLly), wHo Are thE targeTs of tHe Libidinous desigNs of jewish malEfaCtOrs (biEdermEIer and kuhN, reSpectivEly). SaliENce Is ANOThEr commonly exploiteD mECHaNism in maRketinG AnD pROpaganda. in The FilmS UNder rEvieW, ThE main JewIsh chaRAcTeRs are shOwN as strIkIngLy dIfferENt. ThE IpelmEyer famiLy, witH Its garish looks, GAudy clothes, luXUrIOUs HOme, aNd cOarse behaviOr anD SpeeCh, stRIkE thE VieweR as grOtESqUE. The scenes of Kuhn and HiS uncle At his Hotel room are aLso strikinG IN Showing KUhn tO Be A Dissembler, hidiNg his "True" backgrOUnd. Also sAlienT is Kuhn's MaterialiSTIc, rather ThaN roManTic, VIEw Of love; for him, LILLy is A pRize in a PowEr-conteSt. THe hOrrIfiEd Viewer yet Finds it dIfFiCuLt To tUrn awAY from sucH dIspLaYs. ASsociATion (boTh posItivE aNd NEgaTive) is aMOnG THe moSt CoMmonLy uSeD mechAnisMS in Both marKeting and ProPAganDa. in Seeing hAndsome, honest, AnD decent "AryAn" ChaRacterS, THe viewer Positively associates honESty, cleaNliNess, aNd deCency with Non-jewish EthNIc GermAns. ConVerseLy, He sEES ugly, DUPlIciToUs, and manipULAtiVe JewIsH chaRacters, So that he negatively ASsoCiates crookedNesS, dirTINeSs, aND cRAftInESs wITH being Jewish. A "stEreotype" is A fIXeD over-generALizEd Belief oR set of bEliefS About a gRoup of peoPle or thinGs. 41 when WE SteReotype groUps of peoPle, we are eNGaginG In SociaL caTegoriZaTioN. This Can leaD To pRejudIce and DiScrimiNatioN, eSpeciallY if the underlying stereotYpe is nEgatiVe. THe films unDer STudY here most CentRally use thE meChaNisms Of cONtrasT
 audience. In Robert and B ertrand, w e see  th e t ow nspe ople  applaud as th e  vag abonds sing and dance.  In L in e n fr o mIrela nd, wes ee t hehu mb leto w ns folkatthe beg inning eag erto  support the ho nest Huber may er. The mech ani sm ofsy mpa t hy is  al so co mmonly exploi ted in bo th market i ng andp r op agan da. In Robert and Be r trand, we feel  sympa th y  f o r  th e h onest busi ne ssman Lieps,w ho i s  pr e ssured to giv e up his ta v ern  or fo rc e h i s daug hterto mar ry the mani pula tive mone y-lend e r. In L i nen fro m Irel and , w e fe e lsy mpa th y  fo r  t heh one st trade sm en  andthei r f a mili eswhos e liv elihoods theevi l Ku h n w ishes  to d estr oy . Wealso f eel s ym pathy for the t wo A ryan 40 W elc h,  Pr op agand a  and t heGer man Cin ema 193 3 -19 45 , p .269. Reason Papers  V o l .38, no.1 156m ai de n s (Lench en  an d Li l l y), w ho a r ethe targ ets of th elibidin ou s desi gn s o f J ewish male factor s (Biede rmeie r  and Kuhn, res p ectively). Sa l ie n c ei s an oth er commonly  exp l oite d me c ha nis m  in m arket in g  a n d propaganda. In th efilmsunder  review, themain Jewis h c haracter s ar e  s h own as strikin gly d ifferent.T he Ipelm eyerfamily,with itsg a rish loo ks,  ga udy  cl o t he s, luxurioush o me,an d coars e b ehavior  an d s pee ch,  s trike the  vieweras  g ro te squ e. Th e  scenesof  Ku hn  an d his uncleat hi s ho te lr oom  are al s os t riki ng  i n sh owi ng  Kuhn  tob e a  dissem bler, hid ing his"t ru e" back ground. Alsosa lient is K uh n's  mater i a listic,rather than romantic, v i ew of l ove ; for  him , Lilly i s a  prize  in a powe r-cont est.Th e h o r rifie d vi ewe ryet findsi t  di fficu lt  toturn aw ay from such displ a ys.  Association(bo th p o s it ive an d  ne ga t ive ) is among the mo st commonl yu se d mechanis m s i nboth ma rketing  andp ropagan da. In se eing hand so me,h o nes t, and dec ent "Ary an" chara c ters, th e vie wer  posit iv ely  asso ciates hon esty,  clean li ness,and d ec ency wit h non-Jewish ethnic Ger mans.Conve rse ly, he se esu gly , duplici tous , and mani pul ati ve Je wis h  char acte r s,  so thathe n e gativelya ss oci a t es  crookednes s , dir tines s,a nd cra ftin ess with being Je w ish. A "stereo type " isa f i xedov er-generalized  be li e f  or setof  beliefs ab out a gr ou p  of p eopleor thi ngs. 41 W he n  we st ereo typ e groupsofpe o ple, we  a re engagi ng i nsocial  categ o riza t i on. This can lea d top r ejudi c e a nd di sc riminat i on,especially  if the und erlyin g st ereot ype isne gative . T he  films und e r study h ere m ost cen tr ally  us e themech a n ismsof c on tra st
 audience._In Robert_and Bertrand, we see_the townspeople_applaud_as the_vagabonds_sing and dance._In Linen from_Ireland, we see the_humble townsfolk at_the_beginning eager to support the honest Hubermayer. The mechanism of sympathy is also commonly_exploited_in both_marketing_and_propaganda. In Robert and Bertrand,_we feel sympathy for the_honest businessman_Lieps, who is pressured to give up his_tavern_or force his_daughter to marry the manipulative money-lender. In Linen from_Ireland, we feel sympathy for the_honest tradesmen and_their_families_whose livelihoods the evil_Kuhn wishes to destroy. We also_feel sympathy for the two Aryan_40 Welch, Propaganda and the German Cinema_1933-1945, p. 269. Reason Papers Vol._38, no. 1 156 maidens_(Lenchen and_Lilly), who are the targets_of the libidinous_designs of_Jewish malefactors (Biedermeier_and Kuhn, respectively). Salience is another_commonly exploited mechanism_in marketing and propaganda. In the_films_under review, the_main_Jewish_characters are_shown as strikingly_different._The Ipelmeyer_family,_with its garish looks, gaudy clothes,_luxurious_home, and coarse behavior and speech, strike_the viewer as grotesque._The_scenes of Kuhn and_his uncle at his hotel_room are also striking in showing_Kuhn to_be a_dissembler, hiding his "true" background. Also salient is Kuhn's materialistic, rather_than romantic, view of love; for_him, Lilly is a_prize in_a_power-contest. The horrified_viewer_yet finds_it difficult to turn away from such_displays. Association_(both positive and negative) is among_the most commonly used_mechanisms_in both marketing and propaganda. In_seeing handsome, honest, and decent "Aryan"_characters, the viewer positively associates_honesty,_cleanliness,_and decency with non-Jewish ethnic_Germans. Conversely, he sees ugly, duplicitous,_and manipulative Jewish_characters, so that he negatively associates crookedness,_dirtiness,_and craftiness with being Jewish. A_"stereotype"_is a fixed over-generalized belief or_set_of_beliefs about a group of_people or things. 41 When we_stereotype groups of people, we are engaging in social_categorization. This can_lead to prejudice and discrimination,_especially_if_the underlying stereotype is negative. The films under study here_most centrally_use the mechanisms_of contrast