. 38, no. 1 155 silly, harmless, or bungling in any way, and he is surely not good-hearted. He is portrayed as a serious, evil, merciless, manipulative, single-minded narcissist. Not many laughs there. Garden considers this a stronger piece of anti-Semitic propaganda than Robert and Bertram, because the dialogue is much more pointedly antagonistic toward Jews. While I agree on that last point, I still consider the first movie at least as effective, for several reasons. First, Linen from Ireland moves slowly and as a comedy seems rather heavy, for the reasons given above. The first movie actually had higher gross revenues than did the second. 40 More importantly, the music in the first movie more effectively masks the intention of the movie. Goebbels himself held that the most effective propaganda is that which appears as pure entertainment. Let us take up the topic of how certain psychological mechanisms (explained above in Section 3) are exploited in these films. Among the most common of these mechanisms are contrast, social proof, sympathy, salience, and association. A powerful mechanism often exploited in marketing is contrast, which works in propaganda as well. In both films, the contrast between the non-Jewish (or "Aryan") and the Jewish characters are drawn to maximum effect in conveying the message that Jews are different, disgusting, and dangerous. In terms of appearance, the young Aryan lovers (Lenchen and Michel, Lilly and Goll) are young, physically fit, beautiful, and attractive, while the Jewish counterparts (Ippelmeyer and his wife and daughter, Kuhn and his uncle) are middle-aged, obese, ugly, and repellant. The Aryan characters are wholesome and clean, while the Jewish ones are unhygenic. In manners and mores, again the contrast is stark-nay, Manichean. The Aryans are honest and work productively at their legitimate trades, while the Jews are deeply dishonest and work as economic parasites. The Aryans are transparent and supportive of others, while the Jews are manipulative and sly. The Aryans simply want to earn decent livings, while the Jews want excessive wealth and economic power. The linen-makers have a sense of homeland, while Kuhn repeatedly shows by contrast that he is "cosmopolitan." The mechanism of social proof is frequently used in propaganda. In these movies, the townspeople serve as the cuing
. 38, no. 1 155 silly, harmless, or bungling in any way, and he is surely not well - hearted. He is impersonate as a serious, evil, merciless, manipulative, single - minded narcissist. Not many laugh there. Garden considers this a stronger objet d'art of anti - semite propaganda than Robert and Bertram, because the dialogue is much more pointedly antagonistic toward Jews. While I agree on that last point, I even consider the first movie at least as effective, for respective reasons. First, Linen from Ireland moves slowly and as a comedy seems rather fleshy, for the reasons given above. The first movie actually receive higher gross revenues than make the second. 40 More importantly, the music in the first movie more effectively masks the intention of the movie. Goebbels himself held that the about effective propaganda is that which appears as pure entertainment. Let us take up the topic of how certain psychological mechanism (explain above in Section 3) are exploited in these films. Among the most common of these mechanisms are line, social proof, sympathy, salience, and affiliation. A powerful mechanism often overwork in marketing is contrast, which works in propaganda as well. In both film, the line between the non - Jewish (or " Aryan ") and the Jewish characters are drawn to maximum consequence in conveying the message that Jews are different, disgusting, and dangerous. In terms of appearance, the young Aryan lovers (Lenchen and Michel, Lilly and Goll) are young, physically fit, beautiful, and attractive, while the Jewish counterparts (Ippelmeyer and his wife and daughter, Kuhn and his uncle) are middle - aged, obese, ugly, and rebarbative. The Aryan character are wholesome and uninfected, while the Jewish ones are unhygenic. In manners and mores, again the line is stark - nay, Manichean. The Aryans are honest and work productively at their legitimate trades, while the Jews are deeply dishonest and work as economic parasites. The Aryans are diaphanous and supportive of others, while the Jews are manipulative and sly. The Aryans simply want to gain decent livings, while the Jews want excessive wealth and economic power. The linen - maker have a common sense of homeland, while Kuhn repeatedly shows by contrast that he is " cosmopolitan. " The mechanism of social validation is frequently used in propaganda. In these movies, the townspeople serve as the cuing
. 38, nl. 1 155 silly, harmless, or bukgling in any wai, qnd he is sudely not good-hearted. He is portrayed aw a stgious, evil, merciless, oanipulatpve, singlw-minved narcissist. Not many laughs bhere. Jarden considerx this a sdronger piece mf auti-Semitic propaganda than Robert anq Bertrsm, because the dyalobte ia much more pointedly antagonistic toward Jews. While I agree on that last point, L stlll consider the flrst movie qt lqqst as effecgive, for stvzral reasona. First, Linen from Ireland mover slocly and as q xomfgy seems ravher hvavy, for the vvasons civen anove. The first motie qctually had higher gcoss revenues than dyd the sewoud. 40 More importantly, rhw mushc it thd fifst mpvje morf ehfectively jasks the ibtention of the movoe. Toebbels himsslf hejd that the most effective propaganda is uhat shich appears as pure ebtertainment. Let us twke up thq topic of how certain psychological mechanisms (efplaiiea ayive iv Sfction 3) are exploited in these films. Among thq mpsn common of these mechanisms age sontrast, socixl proof, aympathy, salience, wnd assjciatuon. A powtrful mechanism often exploited un marketing us contrast, which corks in pro'agands as eell. In both films, the eontraat between hhe non-Jesksh (or "Aryan") and thv Jefish characters are drawn eo maximun efyect in zonvgying tre message that Jews are different, disgosting, and dangegous. In terms of appearance, the young Aryan lpvars (Lenchen and Kichel, Lilly wnd Goll) are ypung, phvsicaluy fit, bealtiful, anv attractive, while the Jeflsh counterperts (Ippejmeywr abd his dkfe and daughtrr, Kuhn aub his uncoe) are middle-aged, pbers, ugly, and repeolabt. The Aryan chsraztews ace whjnesome and cnean, whkke thd Jewish oncs xre inhygenic. In manners and mores, again the cpnbrast is wtark-nay, Manichean. Thr Aryans are honesu and xork pcoductovejy at their legitimate trades, shile the Jers are deeplr diwhonest and cork as economic parasites. The Aryans arx transparent and suppoetive of others, whikt the Jews arx mani[ulative dnd sly. The Aryans sumply want to eark decent livings, while the Jaws wwnt excessive wealth and economic power. The linen-makers have a sense of himelanv, rhile Kuhn depestedlj skowx by cjntresv that he is "cosmppolitan." The mechanism of sociau proof hs frequently used in propaganca. In these movkes, the townspeople servs as the cuing
. 38, no. 1 155 silly, harmless, in way, and is surely not a evil, merciless, manipulative, narcissist. Not many there. Garden considers this a stronger of anti-Semitic propaganda than Robert and Bertram, because the dialogue is much more antagonistic toward Jews. While I agree on that last point, I still consider first at as for several reasons. First, Linen from Ireland moves slowly and as a comedy seems rather heavy, the reasons given above. The first movie actually higher gross revenues than the second. 40 More importantly, music the first more masks intention of the Goebbels himself held that the most effective propaganda is that which appears as pure entertainment. Let us up the how certain mechanisms above Section 3) are these films. Among the most common are contrast, social proof, sympathy, salience, and association. powerful mechanism exploited in marketing is contrast, which in propaganda as well. In both films, the between the non-Jewish (or "Aryan") and the Jewish characters are drawn to maximum effect in message that Jews are disgusting, and dangerous. terms appearance, young lovers (Lenchen Michel, Lilly and Goll) are young, physically fit, beautiful, and attractive, the Jewish counterparts (Ippelmeyer and his wife and daughter, Kuhn uncle) middle-aged, obese, ugly, repellant. The Aryan characters wholesome clean, while the Jewish unhygenic. manners the is Manichean. The Aryans are and work productively at their trades, while the Jews as economic parasites. The Aryans are transparent and of others, while the Jews are manipulative sly. The Aryans simply want to earn decent livings, while the Jews excessive wealth power. The linen-makers have a sense of homeland, Kuhn repeatedly shows by that he is "cosmopolitan." The mechanism of social proof frequently in propaganda. these movies, the serve as the
. 38, no. 1 155 silly, harmless, or bungling In any way, anD he is SurEly NoT gooD-heaRted. He is portraYEd as A serious, evil, merciless, mAnipuLaTIve, sINgLe-minDed narcISsIST. NoT mAnY laUgHS tHere. GArdEn consiDers this a sTroNgEr piece of antI-seMitic propaGanDa than Robert And bertraM, bEcaUSe the DiaLogue Is much MOre poiNtedly antAgONistic TOward JeWS. whIle I Agree on that last poINt, i Still consider tHe firsT mOViE AT leAst As effectivE, fOr sevERal reasONs. fIRSt, LINen from IrelanD moves slowlY And As a comEdY seEMs rathEr heaVy, FOr tHe reasons giVen aBove. The fiRst movIE actualLY had higHer groSs rEveNues THaN dId tHe SEcoND. 40 MOre IMpoRtantly, tHe MuSic in The fIRST MoviE moRe efFectiVely masks the iNteNtioN Of tHe movIe. GoeBbelS hImselF held tHat thE mOst effective proPagaNda is that WhiCh AppEaRs as pURe enteRtaInmEnt. Let uS take up THe tOpIC OF hOw certain psychologIcAL MeChanisms (ExplaiNEd AbOVe in SectIoN 3) arE expLOIted iN theSE fIlms. AmonG the moST cOmMon of thEsE mechaNiSms Are ContrASt, soCial prOof, sympaThy, saLIence, and associATion. A powerful MEcHANiSM oftEn eXploited in mArkeTIng iS conTRaSt, wHIch woRks in PrOPaGAnda as well. In both filMs, The conTrast Between the non-jewish (or "ArYAN") And the JeWish CHaRActers are drawn To maxImum effect IN conveyiNg the Message tHat Jews arE DIfferent, DisGusTinG, anD DAnGerous. In terms OF AppeArAnce, the YouNg Aryan LovErs (lenCheN aNd Michel, LIlly and GOlL) aRe YoUng, PhysiCAlly fit, bEaUtiFuL, anD attrACtive, wHile tHe JeWiSh COunTerpartS (ipPELmeyEr AnD his WifE aNd dauGhteR, kuhN and his Uncle) are mIddLE-ageD, oBeSe, ugly, aNd repellant. ThE ARyan characTeRs aRe wholESOme and clEan, while the Jewish ones arE UnhygenIc. IN mannErs aNd mores, agAin The conTraST is staRk-nay, MAnichEaN. ThE aRyans ARE hOneSt And work proDUCtiVely aT tHeir LegitimAte trades, while the JEWs aRe deeply dishoNesT and WORk As eCOnOMic PaRAsiTES. The Aryans are trAnsparent aNd SUpPortive of oTHerS, wHile the jews are ManipULative aNd sly. The ARyans simpLy Want TO EarN decent livIngs, whilE the Jews wANt excESsIve weAltH and ecOnOmiC poweR. The liNEn-mAkers Have a sEnSe of hoMelanD, wHile Kuhn Repeatedly shows by contraSt that He is "cOsmOpolitan." THe mEChaNism of socIal pRoof is freqUenTly Used iN prOPaganDa. In THeSe mOVies, tHe toWNspeople sERvE as THE cUing
. 38, no. 1 155 silly, har mless, orbungl ing  in  a ny w ay,and he is sure l y no t good-hearted. He isportr ay e d as aserio us, evi l ,m e rci le ss , m an i pu lativ e,single- minded nar cis si st. Not many la ughs there . G arden consid ers  thisastr o ngerpie ce of  anti- S emitic  propagan da than R o bert an d Be rtra m, because the di a lo g ue is much mor e poin te d ly a nta gon istic towa rd  Jews .  WhileI  a g r e e o n  that last po int, I stil l  co nsider  t hef irst m ovieat lea st as effec tive , for sev eral r e asons.F irst, L inen f rom  Ir elan d  m ov essl o wly an d a s  acomedy s ee ms  rath er h e a v y , fo r t he r eason s given above . T he f i rst  movi e act uall yhad h ighergross  r evenues than di d th e second.  40  M ore  i mport a ntly,the  mu sic inthe fir s t m ov i e mo re effectively mas ks t he  intenti on oft he  m o vie. Goe bb els  him s e lf he ld t h at  the mos t effe c ti ve  propag an da isth atwhi ch ap p ears  as pu re enter tainm e nt. Let us tak e  up the topic of h ow cert ain  psychologi calm echa nism s  ( exp l ained  abov ei nS ection 3) are explo it ed inthese  films. Among  the mostc o m mon of t hese me c hanisms are co ntras t, socialp roof, sy mpath y, salie nce, anda s sociatio n.A p owe rfu l me chanism often e xplo it ed in m ark eting i s c ont ras t,wh ich works  in prop ag an da  a s w ell.I n both f il ms,  t hecontr a st bet weentheno n- J ewi sh (or" Ar y a n")an dtheJew is h cha ract e rsare dra wn to max imu m  eff ec tin conv eying the mes sa ge that Je ws  ar e diff e r ent, dis gusting, and dangerous. In term s o f app eara nce, theyou ng Ary anl overs(Lench en an dMic h e l, Li l l yand  G oll) are y o u ng,  phys ic ally  fit, b eautiful, and attr a cti ve, while the  Je wish c ou nte r pa r ts(I p pel m e yer and his wif e and daug ht e r,  Kuhn andh isun cle) ar e middl e-age d , obese , ugly, a nd repell an t. T h e  Ar yan charac ters are  wholesom e  andc le an, w hil e theJe wis h one s areu nhy genic . In m an ners a nd mo re s, again  the contrast is stark- nay, M anich ean . The Ary ans are  honest a nd w ork produc tiv ely  at t hei r  legi tima t etra d es, w hile the Jewsa re  de e p ly  dishonesta n d  wo rk as  ec o nomicpara sites. The Aryans are transparen t an d sup por t iveof  others, while  th eJ e ws are m an ipulative a nd sly.Th e  Arya ns sim ply wa nt to e a r nd ecentlivi ngs , while t heJe w s wantex ce s sive w ealt hand ec onomic powe r .  The linen-maker s hav e a sen s e o f hom el and, wh i le K uhn repeat edly showsby con tras t tha t he is  " cosmop oli ta n." The me c hanism of  soci al proo fis f req uently  use d in pr opag an da.  In these m ov i es ,t hetown speop le  ser ve as the cuing
. 38,_no. 1_155 silly, harmless, or_bungling in_any_way, and_he_is surely not_good-hearted. He is_portrayed as a serious,_evil, merciless, manipulative,_single-minded_narcissist. Not many laughs there. Garden considers this a stronger piece of anti-Semitic propaganda_than_Robert and_Bertram,_because_the dialogue is much more_pointedly antagonistic toward Jews. While_I agree_on that last point, I still consider the_first_movie at least_as effective, for several reasons. First, Linen from Ireland_moves slowly and as a comedy_seems rather heavy,_for_the_reasons given above. The_first movie actually had higher gross_revenues than did the second. 40_More importantly, the music in the first_movie more effectively masks the intention_of the movie. Goebbels himself_held that_the most effective propaganda is_that which appears_as pure_entertainment. Let us_take up the topic of how_certain psychological mechanisms_(explained above in Section 3) are_exploited_in these films._Among_the_most common_of these mechanisms_are_contrast, social_proof,_sympathy, salience, and association. A powerful_mechanism_often exploited in marketing is contrast, which_works in propaganda as_well._In both films, the_contrast between the non-Jewish (or_"Aryan") and the Jewish characters are_drawn to_maximum effect_in conveying the message that Jews are different, disgusting, and dangerous._In terms of appearance, the young_Aryan lovers (Lenchen and_Michel, Lilly_and_Goll) are young,_physically_fit, beautiful,_and attractive, while the Jewish counterparts (Ippelmeyer_and his_wife and daughter, Kuhn and his_uncle) are middle-aged, obese,_ugly,_and repellant. The Aryan characters are_wholesome and clean, while the Jewish_ones are unhygenic. In manners_and_mores,_again the contrast is stark-nay,_Manichean. The Aryans are honest and_work productively at_their legitimate trades, while the Jews are_deeply_dishonest and work as economic parasites._The_Aryans are transparent and supportive of_others,_while_the Jews are manipulative and_sly. The Aryans simply want to_earn decent livings, while the Jews want excessive wealth_and economic power._The linen-makers have a sense_of_homeland,_while Kuhn repeatedly shows by contrast that he is "cosmopolitan."_The mechanism_of social proof_is frequently used in propaganda. In these movies, the townspeople_serve as the cuing