Nazism and Cinema - Measures of The Nazi Film Policy

Measures of The Nazi Film Policy

To subdue film to the goals of propaganda (Gleichschaltung), the Nazi Party subordinated the entire film industry and administration under Joseph Goebbels' Ministry of Propaganda, and gradually nationalized film production and distribution. A state-run professional school for politically reliable film-makers (Deutsche Filmakademie Babelsberg) was founded, and membership of an official professional organization (Reichsfilmkammer) was made mandatory for all actors, film-makers, distributors etc. The censorship that had already been established during World War I and the Weimar Republic was increased, with a National Film Dramaturgist (Reichsfilmdramaturg) pre-censoring all manuscripts and screenplays at the very first stages of production. Film criticism was prohibited and a national film award established.

A film bank (Filmkreditbank GmbH) was established to provide low-interest loans for the production of politically welcome films, and such films also received tax benefits.

Read more about this topic:  Nazism And Cinema

Famous quotes containing the words measures of, measures, nazi, film and/or policy:

    One encounters very capable fathers abashed by their piano-playing daughters. Three measures of Schumann make them red with embarrassment.
    Alfred Döblin (1878–1957)

    I hear America singing, the varied carols I hear,
    Those of mechanics, each one singing his as it should be blithe and
    strong,
    The carpenter singing his as he measures his plank or beam,
    The mason singing his as he makes ready for work, or leaves off
    work,
    Walt Whitman (1819–1892)

    Time grows dim. Time that was so long
    grows short, time, all goggle-eyed,
    wiggling her skirts, singing her torch song,
    giving the boys a buzz and a ride,
    that Nazi Mama with her beer and sauerkraut.
    Time, old gal of mine, will soon dim out.
    Anne Sexton (1928–1974)

    The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.
    Jeanine Basinger (b. 1936)

    The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!
    Roland Barthes (1915–1980)