. They jump into a balloon, which carries them to heaven, where they dance past the pearly gates in the midst of angels. Some commentators have regarded this film as being not markedly anti-Semitic, and thus not particularly effective as propaganda. For example, in his comprehensive treatise on German propaganda cinema, Ian Garden says that while the movie did in fact caricature Jews, it isn't particularly remarkable in this regard. As he puts it, "While there are certainly some stereotypical presentations of the Jewish characters in the film... there is nothing particularly offensive about the portrayals. Indeed, it is more reminiscent of the clichéd portrayals of the national characteristics of (say) the Scots or the French." He adds that "just as much fun is poked at non-Jewish characters, and the real villains are the two non-Jewish vagabonds who steal jewelry from Ipelmeyer, but who are still accepted into heaven because their crimes were not committed for personal gain but to insure the happiness of the two lovers." 39 This strikes me as mistaken for several reasons. First, none of the other characters is singled out for such vicious stereotypical satirization. The Jews are portrayed as greedy, lacking in taste, lacking in hygiene, uniformly ugly, dishonest, and so on, especially in comparison with the blond, wholesome, Aryan lovers. Second, Garden seems to equate Jewishness with a separate nationality (like being Scottish or French), as if Jewish Germans aren't truly Germans. The fact that the Nuremberg Laws were passed to define who was Jewish is strong evidence that most German Jews in fact looked and sounded like other Germans. Most importantly, Garden overlooks the main argument for recognizing this as effective propaganda. The film clearly presents the idea that theft from Jews is praiseworthy and noble if it is done to help "Aryans." 39 Ian Garden, The Third Reich's Celluloid War: Propaganda in Nazi Feature Films, Documentaries, and Television (Gloucestershire, UK: The History Press, 2012), p. 74. Reason Papers Vol. 38, no. 1 145 Considering that to a large degree the Nazis funded their Wehrmacht by assets seized from Jews, down to the gold in the teeth of Jews killed in the extermination camps, this message was very much a Nazi one. This movie was in fact powerfully effective in promoting the ideas and emotions the Nazis wanted to arouse against the Jews. The film is selling
. They jump into a balloon, which carries them to heaven, where they dance past the pearly gates in the midst of angels. Some observer have involve this film as being not markedly anti - Semitic, and thus not peculiarly effective as propaganda. For example, in his comprehensive treatise on German propaganda cinema, Ian Garden says that while the movie did in fact caricature Jews, it isn't peculiarly noteworthy in this regard. As he puts it, " While there are certainly some stereotypical presentation of the Jewish characters in the film... there be nothing particularly offensive about the portrayals. Indeed, it is more reminiscent of the clichéd portrayals of the national feature of (say) the Scots or the French. " He adds that " just equally much fun is poked at non - Jewish character, and the substantial villains are the two non - Jewish vagrant who steal jewelry from Ipelmeyer, but who are still accepted into heaven because their crimes were not give for personal gain but to insure the happiness of the two lovers. " 39 This strikes me as mistaken for respective reason. First, none of the other characters is singled out for such vicious stereotypical satirization. The Jews are portrayed as greedy, lacking in preference, miss in hygiene, uniformly ugly, dishonest, and so along, specially in comparison with the blond, wholesome, Aryan lovers. Second, Garden seem to equate Jewishness with a separate nationality (like being Scottish or French), as if Jewish Germans aren't truly Germans. The fact that the Nuremberg Laws were authorize to define who was Jewish is strong evidence that most German Jews in fact looked and sounded like other Germans. Most importantly, Garden neglect the main argument for recognizing this as effective propaganda. The film clearly presents the mind that theft from Jews is praiseworthy and noble if it is done to help " Aryans. " 39 Ian Garden, The Third Reich's Celluloid War: Propaganda in Nazi Feature Films, Documentaries, and Television (Gloucestershire, UK: The History Press, 2012), p. 74. Reason Papers Vol. 38, nobelium. 1 145 Considering that to a large degree the Nazis funded their Wehrmacht by assets seized from Jews, down to the gold in the teeth of Jews killed in the extinction camps, this message was very much a Nazi one. This movie was in fact powerfully effective in promoting the ideas and emotion the Nazis wanted to arouse against the Jews. The film is selling
. Thfy jump into a balloon, wmich carries them to heeven, whsre they dance past the pearly gates ib the midst of angels. Some zommentatlrs have regerded this film ea being not mzvkedlv enti-Semitic, and thus not [articularly exfdccive as propaganda. For example, in hif comprrhfnsive treatisg on Bqrmah propaganda cinema, Ian Garden saya that xhile the movie did in fact caricature Jeas, ih isn't particularlj remarkablg in rhis regard. Xs he puts it, "While thgre are certainly some stereotypkcal 'resentatiobs of jhe Jewish ciaractvrs in the film... there is notning particulavly ohfenwive about the portrabals. Indeed, it is mote reminisweut of the clichéd porteatals mf tve nxrioval ciarzcteridtirs of (say) tge Scots or the French." He adds trqt "just as mudh fun if poked at non-Jewish characters, and the rezl villains are the two non-Jewish vagabonds aho steal jewelry from Ipelmeyer, but who are still accepteg intk hecycn bdxakse their crimes were not committed for persogzl gsin but to insmre the happiness pf tng two lovers." 39 Jhis stxjkss me as mistaken vor sevgral rwasons. Fiwst, mone of the other characterw is singled iut for such viciobs stereotypncal sstiriaation. The Jews are porcrayed as greedy, packing ih taste, lacking iv hjgiete, uniformly ugly, dishonese, and so in, expecialuy im compwrison witj the blond, wholesome, Arjan llvars. Second, Garden seems to equate Jewishnxxs with a sekardte nationajity (kike being Scjttish or Freneh), as if Jewirh Germans aren't vruly Germanf. The fact thdj the Nurembecg Laws wqre passwd to ddwine who was Jrwish is strong evieence that most Gevman Gsws in fact loojed and sounded lile uthqr Gxrmanf. Most importdntlh, Gxtden uverlooks tme oain argument for recognhzinf this as effectivr iropagandq. The fijm clearly prrsents the idea thwt thxft frum Jees ys praiseworthy and noble if if is done to help "Aryans." 39 Iak Gatden, The Thnrd Reich's Celluloid War: Propaganda in Nezi Feature Films, Documwntaries, and Televixlon (Gloucestxrshirq, UK: The Vistory Press, 2012), p. 74. Reqson Papers Vol. 38, ko. 1 145 Considering that fo a ldrge fegree the Nazis funded their Wehrmacht by assets seized from Jews, down ti the jojd in the tseth of Jvws lilled in vhx extermination csmps, this message was very much a Nazi mnz. This movie was in fact powetfjlly effectivg in promoting the ideas ahd emotipns the Nazis wanted to arouse sgainst the Jews. The filk is seloing
. They jump into a balloon, which to where they past the pearly angels. commentators have regarded film as being markedly anti-Semitic, and thus not particularly as propaganda. For example, in his comprehensive treatise on German propaganda cinema, Ian says that while the movie did in fact caricature Jews, it isn't particularly in regard. he it, "While there are certainly some stereotypical presentations of the Jewish characters in the film... there nothing particularly offensive about the portrayals. Indeed, it more reminiscent of the portrayals of the national characteristics (say) Scots or French." adds "just as much is poked at non-Jewish characters, and the real villains are the two non-Jewish vagabonds who steal jewelry Ipelmeyer, but still accepted heaven their were not committed gain but to insure the happiness lovers." 39 This strikes me as mistaken for reasons. First, of the other characters is singled for such vicious stereotypical satirization. The Jews are as greedy, lacking in taste, lacking in hygiene, uniformly ugly, dishonest, and so on, especially with the blond, wholesome, lovers. Second, Garden to Jewishness a nationality (like Scottish or French), as if Jewish Germans aren't truly Germans. The that the Nuremberg Laws were passed to define who was strong that most German in fact looked and like Germans. Most importantly, Garden main for effective The clearly presents the idea theft from Jews is praiseworthy noble if it is Ian Garden, The Third Reich's Celluloid War: Propaganda Nazi Feature Films, Documentaries, and Television (Gloucestershire, The History Press, 2012), p. 74. Reason Papers Vol. 38, no. 1 Considering that large degree the Nazis funded their Wehrmacht by seized from Jews, down the gold in the teeth of Jews killed in extermination this message very much a one. This movie in fact powerfully promoting the and the arouse against the Jews. The film selling
. They jump into a balloon, which Carries theM to heAveN, whErE theY danCe past the pearlY GateS in the midst of angels. SomE commEnTAtorS HaVe regArded thIS fILM as BeInG noT mARkEdly aNti-semitic, And thus not ParTiCularly effecTIvE as propagaNda. for example, in His CompreHeNsiVE treaTisE on GeRman prOPagandA cinema, IaN GARden saYS that whILE tHe moVie did in fact caricATuRE Jews, it isn't parTiculaRlY ReMARkaBle In this regaRd. as he pUTs it, "WhiLE tHERE arE Certainly some StereotypicAL prEsentaTiOns OF the JeWish cHaRActErs in the filM... theRe is nothiNg partICularly OFfensivE about The PorTrayALs. inDeeD, iT Is mORe RemINisCent of thE cLiChéd pOrtrAYALS of tHe nAtioNal chAracteristics Of (sAy) thE scoTs or tHe FreNch." HE aDds thAt "just As mucH fUn is poked at non-JEwisH characteRs, aNd The ReAl vilLAins arE thE twO non-JewIsh vagaBOndS wHO STeAl jewelry from IpelmEyER, BuT who are sTill acCEpTeD Into heavEn BecAuse THEir crImes WErE not commItted fOR pErSonal gaIn But to iNsUre The HappiNEss oF the twO lovers." 39 THis stRIkes me as mistakEN for several reASoNS. fiRSt, noNe oF the other chAracTErs iS sinGLeD ouT For suCh vicIoUS sTEreotypical satirizaTiOn. The JEws arE portrayed as gReedy, lackiNG IN taste, laCkinG In HYgiene, uniformlY ugly, Dishonest, aND so on, espEcialLy in compArison witH THe blond, wHolEsoMe, ARyaN LOvErs. Second, GardEN SeemS tO equate jewIshness WitH a sEpaRatE nAtionalitY (like beiNg scOtTiSh oR FrenCH), as if JewIsH GeRmAns Aren't TRuly GeRmans. the fAcT tHAt tHe NuremBErG lAws wErE pAsseD to DeFine wHo waS jewIsh is stRong evideNce THat mOsT GErman JeWs in fact lookeD aNd sounded lIkE otHer GerMANs. Most imPortantly, Garden overlookS The main ArgUment For rEcognizinG thIs as efFecTIve proPagandA. The fIlM clEARly prESEnTs tHe Idea that thEFT frOm JewS iS praIsewortHy and noble if it is doNE to Help "Aryans." 39 Ian garDen, THE thIrd rEiCH's CElLUloID war: Propaganda in nazi FeaturE FILmS, DocumentaRIes, AnD TeleviSion (GloUcestERshire, Uk: The HistoRy Press, 2012), p. 74. REaSon PAPErs vol. 38, no. 1 145 ConsiDering thAt to a largE DegreE ThE NaziS fuNded thEiR WeHrmacHt by asSEts SeizeD from JEwS, down tO the gOlD in the teEth of Jews killed in the extErminaTion cAmpS, this messAge WAs vEry much a NAzi oNe. This moviE waS in Fact pOweRFully EffeCTiVe iN PromoTing THe ideas anD EmOtiONS tHe Nazis wantED TO arOuse aGaiNSt the JEws. THe film is selling
. They jump into a balloon , which ca rries  th emto  hea ven,  where they da n ce p ast the pearly gates i n the  m i dsto fangel s. Some co m m ent at or s h av e  r egard edthis fi lm as bein g n ot  markedly an t i- Semitic, a ndthus not par tic ularly  e ffe c tiveaspropa ganda. For ex ample, in  h i s comp r ehensiv e tr eati se on German prop a ga n da cinema, Ian  Garde ns ay s tha t w hile the m ov ie di d  in fac t  c a r i cat u re Jews, it i sn't partic u lar ly rem ar kab l e in t his r eg a rd.  As he puts  it,  "While t here a r e certa i nly som e ster eot ypi calp re se nta ti o nso fthe Jew ish char ac te rs in  the f i l m...  th ereis no thing particu lar ly o f fen siveabout  the  p ortra yals.Indee d,  it is more rem inis cent of t hecl ich éd  port r ayalsofthe  nation al char a cte ri s t i cs  of (say) the Scot so r  t he Frenc h." He ad ds that "ju st  as  muc h fun i s po k ed  at non- Jewish ch ar acters,  a nd the  r eal  vi llain s  are  the t wo non-J ewish vagabonds whos teal jewelryf ro m Ip e lmey er,  but who ar e st i ll a ccep t ed  in t o hea ven b ec a us e  their crimes wereno t comm itted  for personal  gain butt o insure t he h a pp i ness of the tw o lov ers." 39 T h is strik es me  as mist aken fors e veral re aso ns.  Fi rst , no ne of the oth e r  cha ra cters i s s ingledout  fo r s uch  v icious st ereotypi ca lsa ti riz ation .  The Jew sare  p ort rayed as gre edy,lack in gi n t aste, l a ck i n g in  h yg iene , u ni forml y ug l y,dishone st, and s o o n , es pe ci ally in  comparison w it h the blon d,  wh olesom e ,  Aryan l overs. Second, Garden s e ems toequ ate J ewis hness wit h a  separ ate nation ality(like  b ein g Scott i s horFr ench), asi f  Je wishGe rman s aren' t truly Germans. T h e f act that theNur embe r g  L aws we r e p as s edt o  define who was  Jewish is  s t ro ng evidenc e  th at  most G erman J ews i n  fact l ooked and  soundedli ke o t h erGermans. M ost impo rtantly,G arden ov erloo ksthe ma in  ar gumen t forr eco gnizi ng thi sas eff ectiv epropagan da. The film clearly pr esents  theide a that th eft fro m Jews is  pra iseworthyand  no ble i f i t  is d onet ohel p  "Ary ans. "  39 Ian G a rd en, T he  Third Reic h ' s  Ce llulo idW ar: Pr opag anda in Nazi Feat u re Films, Docu ment a r ies , a n d Te le vision (Glouce ste rs h i re, UK:Th e History P ress, 20 12 ) , p.74. Re ason P apers V o l .3 8, no.  1 1 45Consideri ngth a t to ala rg e  degre e th eNazisfunded thei r Wehrmacht by ass ets s e i zed f r omJews,  d own tot he g old in the  teeth of J ews ki lled  in t he exte rm inatio n c am ps, this m e ssage was  very  much a  N azione . This  mov i e  wasin f ac t p owerfully e ff e ct iv e  in  pro motin gtheideas and emotions  th e  Naziswa nte d to aro u se a gainst the  Je ws. T h e  film is s e llin g 
. They_jump into_a balloon, which carries_them to_heaven,_where they_dance_past the pearly_gates in the_midst of angels. Some_commentators have regarded_this_film as being not markedly anti-Semitic, and thus not particularly effective as propaganda. For_example,_in his_comprehensive_treatise_on German propaganda cinema, Ian_Garden says that while the_movie did_in fact caricature Jews, it isn't particularly remarkable_in_this regard. As_he puts it, "While there are certainly some stereotypical_presentations of the Jewish characters in_the film... there_is_nothing_particularly offensive about the_portrayals. Indeed, it is more reminiscent_of the clichéd portrayals of the_national characteristics of (say) the Scots or_the French." He adds that "just_as much fun is poked_at non-Jewish_characters, and the real villains_are the two_non-Jewish vagabonds_who steal jewelry_from Ipelmeyer, but who are still_accepted into heaven_because their crimes were not committed_for_personal gain but_to_insure_the happiness_of the two_lovers."_39 This_strikes_me as mistaken for several reasons._First,_none of the other characters is singled_out for such vicious_stereotypical_satirization. The Jews are_portrayed as greedy, lacking in_taste, lacking in hygiene, uniformly ugly,_dishonest, and_so on,_especially in comparison with the blond, wholesome, Aryan lovers. Second, Garden_seems to equate Jewishness with a_separate nationality (like being_Scottish or_French),_as if Jewish_Germans_aren't truly_Germans. The fact that the Nuremberg Laws_were passed_to define who was Jewish is_strong evidence that most_German_Jews in fact looked and sounded_like other Germans. Most importantly, Garden_overlooks the main argument for_recognizing_this_as effective propaganda. The film_clearly presents the idea that theft_from Jews is_praiseworthy and noble if it is done_to_help "Aryans." 39 Ian Garden, The_Third_Reich's Celluloid War: Propaganda in Nazi_Feature_Films,_Documentaries, and Television (Gloucestershire, UK:_The History Press, 2012), p. 74._Reason Papers Vol. 38, no. 1 145 Considering that_to a large_degree the Nazis funded their_Wehrmacht_by_assets seized from Jews, down to the gold in the_teeth of_Jews killed in_the extermination camps, this message was very much a Nazi_one. This movie was in fact powerfully_effective in promoting the ideas and emotions the Nazis wanted to_arouse against the Jews. The film is selling