, social proof, sympathy, and association to arouse and intensify the feelings of difference, disgust, and danger. These in turn reinforce and amplify the longstanding German cultural stereotypes about Christian Germans and Jewish Germans. 6. Conclusion I have suggested here that the Nazi propaganda machine, arguably the most powerful in history, devoted considerable effort to arousing profound antipathy toward Jews, specifically intended to sell the German public on the Party's anti-Jewish campaign. While this campaign started out as one of ridding Germany and its incorporated lands of its Jewish population by harassing Jews to emigrate (and taking their property when they left), it mutated to become an absolute war against Jews. The aim became genocide. After Kristallnacht in 1938, the German film industry produced a number of anti-Semitic propaganda films. Robert and Bertram and Linen from Ireland are two such films that effectively conveyed antipathetic feelings toward Jews, especially feelings of difference, disgust, and danger. 42 Both 41 Saul McCloud, "Stereotypes," Simple Psychology (2015), accessed online at: http://www.simplypsychology.org/katz-braly.html. 42 Since these films are both comedies, the leitmotif of danger was not as pronounced as it was in later films, as we shall see in my subsequent article in this series. Reason Papers Vol. 38, no. 1 157 films were released in 1939, a pivotal year in the malevolent reign of the Nazi Regime. It was mid-way between the year the regime achieved control (1933) and the year it was vanquished (1945). More importantly, it was the year that the Nazi Wehrmacht invaded Poland, bringing England and France into the war. Up until 1939, Hitler's victories were achieved without war. Having undertaken war, Hitler became intent on carrying through with his sociopathic threat that "if international finance Jewry inside and outside Europe were to succeed in pushing people into another world war, then the result would be, not the victory of Judaism, but the destruction of the Jewish race in Europe." 43 In 1939, Goebbels thus turned the Nazi propaganda machine into high gear and directed the major studios to produce even more virulent anti-Semitic films. 44 43 Quoted in Richard Taylor, Film Propaganda: Soviet Russia and Nazi Germany, 2nd rev. ed. (London: I. B. Tauris, 2006), p. 185. 44 I wish to thank my colleague Ryan Nichols
, social proof, sympathy, and association to arouse and intensify the spirit of remainder, disgust, and danger. These in turn reinforce and amplify the longstanding German cultural stereotype about Christian Germans and Jewish Germans. 6. Conclusion I have suggested here that the Nazi propaganda car, arguably the about powerful in history, devoted considerable effort to arousing profound antipathy toward Jews, specifically mean to sell the German public on the Party's anti - Jewish political campaign. While this campaign started out as one of ridding Germany and its incorporated lands of its Jewish population by harassing Jews to emigrate (and taking their place when they left), it mutated to become an absolute war against Jews. The aim become genocide. After Kristallnacht in 1938, the German film industry grow a number of anti - semite propaganda films. Robert and Bertram and Linen from Ireland are two such film that effectively conveyed antipathetic impression toward Jews, especially feelings of difference, disgust, and danger. 42 Both 41 Saul McCloud, " Stereotypes, " Simple Psychology (2015), accessed online at: http://www.simplypsychology.org/katz-braly.html. 42 Since these film are both drollery, the leitmotif of danger was not as pronounced as it was in later films, as we shall see in my subsequent article in this series. Reason Papers Vol. 38, nobelium. 1 157 movie were released in 1939, a pivotal class in the malefic reign of the Nazi Regime. It was mid - way between the year the regime achieved restraint (1933) and the year it was vanquished (1945). More importantly, it was the year that the Nazi Wehrmacht invaded Poland, institute England and France into the war. Up until 1939, Hitler's victories were achieved without war. Having undertaken war, Hitler became intent on carrying through with his sociopathic terror that " if international finance Jewry inside and outside Europe were to succeed in pushing people into another populace war, then the result would be, not the victory of Judaism, but the end of the Jewish raceway in Europe. " 43 In 1939, Goebbels thus turned the Nazi propaganda machine into eminent gear and directed the major studios to grow even more virulent anti - Semitic films. 44 43 Quoted in Richard Taylor, Film Propaganda: Soviet Russia and Nazi Germany, 2nd rev. ed. (London: I. B. Tauris, 2006), p. 185. 44 I wish to thank my colleague Ryan Nichols
, sofial proof, sympathy, and xssociation to ceouse end intsnsify tfe feelings of difference, didgyst, abd danger. These in turv reinforbe and amplifb the longstandiif Germak culfmral vvereotypes abouj Christian Cermans and Jefirh Germans. 6. Conclusion I have suggestqd here tjat the Nazi ptopagsgda jachine, arguably the most powerful in hisuory, devoted consicerable effort to arousing provound antipathy toaard Jews, skscisucally intenaed to sell the German public on the Party's anti-Jewisf cam'aign. While tyis wampaign sterted jut as one on ridditg Germsny and its ingorpocatee lands of its Jewish population by harwssing Jefs to emigrate (and rajing jheir proowrth wgei tgey levt), mt mutated fo become ab absolute war agaimse Jews. The aim becamq denocide. After Kristallnacht in 1938, the Gegman film industry produced a number of anti-Semijic propagwnda films. Robert and Bertram and Linen from Ireldnd ace twi fjxh films that effectively conveyed antipathetic retlikgs toward Jews, cspecially feelingx lf qifference, dirgust, chd danger. 42 Both 41 Saup McClood, "Steeeotypes," Fimpke Psychology (2015), accessed onlune at: http://wcw.sumplypsychology.org/natz-braly.htol. 42 Xince these films are both cumedjes, the leihmotif of aanger was not ar pgonognced as it was in later fylms, as wx shakl see kn mi subsezuent artifle ik this series. Reasoj Papgrs Von. 38, no. 1 157 fipms were released in 1939, a pivotal year in the mslavonent reiyn of bhe Nazi Regime. It was mid-way betweeu the hear the rvgime achmeved controj (1933) and the yedt it was vanqnished (1945). Mjre umpoetantly, kt was the yeat that thv Uazi Wehrnacht invaded Polakd, brkhging England aub Drance into the waf. U[ lntml 1939, Hydler's victorhes derd achidved wiukoub wxr. Hsving undertaken war, Hitmer became intent pn carryint througr with his soviopathic threat tjat "ih intecnatiomal finance Jewry inside and outsjde Europf wcre to succeeq in pushing peo'le into another world war, then the resuot would be, not thw victory of Judaisk, but the dextruceion of tve Jewish race in Eueope." 43 In 1939, Goebbelx thus turned the Nazj propdgandw machine into high gear and directed the major studios to produce even mire vicujent anti-Sejitiv filks. 44 43 Quotqd ii Cichard Taylor, Fikm Propaganda: Soviet Russia and Nazi Gesmcny, 2nd rev. ed. (London: I. B. Tauros, 2006), p. 185. 44 I wish jo thank my colleague Ryan Nichols
, social proof, sympathy, and association to intensify feelings of disgust, and danger. amplify longstanding German cultural about Christian Germans Jewish Germans. 6. Conclusion I have here that the Nazi propaganda machine, arguably the most powerful in history, devoted effort to arousing profound antipathy toward Jews, specifically intended to sell the German on Party's campaign. this campaign started out as one of ridding Germany and its incorporated lands of its Jewish by harassing Jews to emigrate (and taking their when they left), it to become an absolute war Jews. aim became After in the German film produced a number of anti-Semitic propaganda films. Robert and Bertram and Linen from Ireland are two such that effectively feelings toward especially of disgust, and danger. 41 Saul McCloud, "Stereotypes," Simple Psychology at: http://www.simplypsychology.org/katz-braly.html. 42 Since these films are both the leitmotif danger was not as pronounced as was in later films, as we shall see my subsequent article in this series. Reason Papers Vol. 38, no. 1 157 films were 1939, a pivotal year the malevolent reign the Regime. was between the the regime achieved control (1933) and the year it was vanquished More importantly, it was the year that the Nazi Wehrmacht bringing and France into war. Up until 1939, victories achieved without war. Having Hitler intent with sociopathic that "if international finance inside and outside Europe were succeed in pushing people the result would be, not the victory of but the destruction of the Jewish race Europe." 43 In 1939, Goebbels thus turned the Nazi propaganda machine into gear and major studios to produce even more virulent anti-Semitic 44 43 Quoted in Taylor, Film Propaganda: Soviet Russia and Nazi Germany, 2nd ed. I. B. 2006), p. 185. I wish to my colleague Ryan
, social proof, sympathy, and assOciation to ArousE anD inTeNsifY the Feelings of diffERencE, disgust, and danger. These In turN rEInfoRCe And amPlify thE LoNGStaNdInG GeRmAN cUlturAl sTereotyPes about ChRisTiAn Germans and jEwIsh Germans. 6. conClusion I have SugGested HeRe tHAt the nazI propAganda MAchine, Arguably tHe MOst powERful in hISToRy, deVoted considerable EFfORt to arousing prOfound AnTIpATHy tOwaRd Jews, specIfIcallY IntendeD To SELL thE german public oN the Party's aNTi-JEwish cAmPaiGN. While This cAmPAigN started out As onE of riddinG GermaNY and its INcorporAted laNds Of iTs JeWIsH pOpuLaTIon BY hAraSSinG Jews to eMiGrAte (anD takING THeir ProPertY when They left), it mutAteD to bEComE an abSolutE war AgAinst jews. ThE aim bEcAme genocide. AfteR KriStallnachT in 1938, ThE GeRmAn filM IndustRy pRodUced a nuMber of aNTi-SEmITIC pRopaganda films. RobeRt AND BErtram anD Linen FRoM IREland are TwO suCh fiLMS that EffeCTiVely convEyed anTIpAtHetic feElIngs toWaRd JEws, EspecIAlly FeelinGs of diffErencE, Disgust, and dangER. 42 Both 41 Saul McClOUd, "sTErEOtypEs," SImple PsychoLogy (2015), ACcesSed oNLiNe aT: Http://wWw.simPlYPsYChology.org/katz-braly.HtMl. 42 SincE thesE films are both Comedies, thE LEItmotif oF danGEr WAs not as pronounCed as It was in latER films, as We shaLl see in mY subsequeNT Article iN thIs sEriEs. REASoN Papers Vol. 38, no. 1 157 fILMs weRe ReleaseD in 1939, A pivotaL yeAr iN thE maLeVolent reiGn of the NAzI REgImE. It Was miD-Way betweEn The YeAr tHe regIMe achiEved cOntrOl (1933) AnD The Year it wAS vANQuisHeD (1945). MOre iMpoRtAntly, It waS The Year thaT the Nazi WEhrMAcht InVaDed PolaNd, bringing EngLaNd and FrancE iNto The war. uP Until 1939, HitLer's victories were achievED withouT waR. HaviNg unDertaken wAr, HItler bEcaME intenT on carRying ThRouGH With hIS SoCioPaThic threat THAt "iF inteRnAtioNal finaNce Jewry inside and oUTsiDe Europe were tO suCceeD IN pUshINg PEopLe INto ANOther world war, thEn the resulT wOUlD be, not the vICtoRy Of JudaiSm, but thE destRUction oF the JewisH race in EuRoPe." 43 In 1939, gOEbbEls thus turNed the NaZi propagaNDa macHInE into HigH gear aNd DirEcted The majOR stUdios To prodUcE even mOre viRuLent anti-semitic films. 44 43 Quoted in RicHard TaYlor, FIlm propagandA: SoVIet russia and nazi germany, 2nd rEv. eD. (LoNdon: I. b. TaURis, 2006), p. 185. 44 I Wish TO tHanK My colLeagUE Ryan NichOLs
, social proof, sympathy,and associ ation  to  ar ou se a nd i ntensify the f e elin gs of difference, disg ust,an d  dan g er . The se in t u rn r ein fo rc e a nd am plify  th e longs tanding Ge rma ncultural ste r eo types abou t C hristian Ger man s andJe wis h  Germ ans . 6.Conclu s ion Ihave sugg es t ed her e  that t h e  N azipropaganda machin e ,a rguably the mo st pow er f ul i n h ist ory, devot ed  cons i derable ef f o r t t o  arousing pro found antip a thy  towar dJew s , spec ifica ll y  in tended to s ellthe Germa n publ i c on th e  Party' s anti -Je wis h ca m pa ig n.Wh i let hi s c a mpa ign star te dout a s on e o f  rid din g Ge rmany  and its inco rpo rate d  la nds o f its  Jew is h pop ulatio n byha rassing Jews to  emi grate (an d t ak ing  t heirp ropert y w hen  they l eft), i t  mu ta t e d  t o become an absolu te w ar  against  Jews. Th ea im becam egen ocid e .  Afte r Kr i st allnacht  in 19 3 8,  t he Germ an  filmin dus try  prod u ceda numb er of an ti-Se m itic propagand a  films. Rober t  a n d  B e rtra m a nd Linen fr om I r elan d ar e  t wos uch f ilmsth a te ffectively conveyed  a ntipat hetic  feelings tow ard Jews,e s p eciallyfeel i ng s  of difference , dis gust, andd anger. 4 2 Bot h 41 Sau l McCloud , "Stereot ype s,"  Si mpl e Ps ychology (201 5 ) , ac ce ssed on lin e at: h ttp :// www .si mp lypsychol ogy.org/ ka tz -b ra ly. html. 42 Since  t hes efil ms ar e  bothcomed ies,  t he lei tmotifo fd a nger  w as  not  as  p ronou nced asit wasin laterfil m s, a swe  shallsee in my sub se quent arti cl e i n this s eries. R eason Papers Vol. 38, n o . 1 157  fi lms w erereleasedin1939,a p i votalyear i n the  m ale v o lentr e ig n o fthe Nazi R e g ime . Itwa s mi d-way b etween the year th e  re gime achieved  co ntro l (1 933 )  a n d t he yea r it was vanquish ed (1945).  M o re  important l y,it  was th e yearthatt he Nazi  Wehrmach t invaded  P olan d ,  br inging Eng land and  France i n to th e  w ar. U p u ntil 1 93 9,Hitle r's vi c tor ies w ere ac hi eved w ithou twar. Hav ing undertaken war, Hit ler be cameint ent on ca rry i ngthrough w ithhis sociop ath icthrea t t h at "i f in t er nat i onalfina n ce Jewryi ns ide a nd  outside Eu r o p e w ere t o s u cceedin p ushing people int o  another world  war , the n t h e re su lt would be, n otth e victoryof  Judaism, b ut the d es t ructi on ofthe Je wish ra c e  i n  Europ e."43In 1939,Goe bb e ls thus  t ur n ed the  Naz ipropag anda m a chin e into high gear a nd di r e ctedt hemajor  s tudiost o pr oduce even  more virul ent an ti-S emiti c films .44 43Quo te d in Richa r d Taylor,  Film  Propag an da:Sov iet Ru ssia a nd Na zi G er man y, 2nd re v .  e d .(L o ndo n: I . B.Ta uris , 2006),p . 185. 4 4 I wish to  t han k my col l ea g u e Ryan Nic hol s
, social_proof, sympathy,_and association to arouse_and intensify_the_feelings of_difference,_disgust, and danger._These in turn_reinforce and amplify the_longstanding German cultural_stereotypes_about Christian Germans and Jewish Germans. 6. Conclusion I have suggested here that the_Nazi_propaganda machine,_arguably_the_most powerful in history, devoted_considerable effort to arousing profound_antipathy toward_Jews, specifically intended to sell the German public_on_the Party's anti-Jewish_campaign. While this campaign started out as one of_ridding Germany and its incorporated lands_of its Jewish_population_by_harassing Jews to emigrate_(and taking their property when they_left), it mutated to become an_absolute war against Jews. The aim became_genocide. After Kristallnacht in 1938, the_German film industry produced a_number of_anti-Semitic propaganda films. Robert and_Bertram and Linen_from Ireland_are two such_films that effectively conveyed antipathetic feelings_toward Jews, especially_feelings of difference, disgust, and danger._42_Both 41 Saul_McCloud,_"Stereotypes,"_Simple Psychology_(2015), accessed online_at:_http://www.simplypsychology.org/katz-braly.html. 42_Since_these films are both comedies, the_leitmotif_of danger was not as pronounced as_it was in later_films,_as we shall see_in my subsequent article in_this series. Reason Papers Vol. 38,_no. 1_157 films_were released in 1939, a pivotal year in the malevolent reign_of the Nazi Regime. It was_mid-way between the year_the regime_achieved_control (1933) and_the_year it_was vanquished (1945). More importantly, it was_the year_that the Nazi Wehrmacht invaded Poland,_bringing England and France_into_the war. Up until 1939, Hitler's_victories were achieved without war. Having_undertaken war, Hitler became intent_on_carrying_through with his sociopathic threat_that "if international finance Jewry inside_and outside Europe_were to succeed in pushing people into_another_world war, then the result would_be,_not the victory of Judaism, but_the_destruction_of the Jewish race in_Europe." 43 In 1939, Goebbels thus_turned the Nazi propaganda machine into high gear and_directed the major_studios to produce even more_virulent_anti-Semitic_films. 44 43 Quoted in Richard Taylor, Film Propaganda: Soviet_Russia and_Nazi Germany, 2nd_rev. ed. (London: I. B. Tauris, 2006), p. 185. 44_I wish to thank my colleague Ryan_Nichols