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Hollywood und Hitler, 1933-1939 von Professor Doherty, Thomas: Gebraucht
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eBay-Artikelnr.:404302496729
Artikelmerkmale
- Artikelzustand
- Book Title
- Hollywood and Hitler, 1933-1939
- Publication Date
- 2013-04-02
- Pages
- 448
- ISBN
- 9780231163927
Über dieses Produkt
Product Identifiers
Publisher
Columbia University Press
ISBN-10
0231163924
ISBN-13
9780231163927
eBay Product ID (ePID)
150545291
Product Key Features
Number of Pages
448 Pages
Publication Name
Hollywood and Hitler, 1933-1939
Language
English
Publication Year
2013
Subject
Film / General, Holocaust, United States / 20th Century, Europe / Germany, Propaganda, Industries / Entertainment, Film / History & Criticism
Type
Textbook
Subject Area
Political Science, Performing Arts, Business & Economics, History
Series
Film and Culture Ser.
Format
Hardcover
Dimensions
Item Height
0.1 in
Item Weight
26.2 Oz
Item Length
0.9 in
Item Width
0.6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2012-046863
Dewey Edition
23
Reviews
Doherty offers a compelling prequel to his own Projections of War: Hollywood,American Culture,and World War II and an indispensible contribution to the emerging body of work on the relationships between Hollywood and Berlin in the 1930s., A tour de force of film history, deftly weaving together many strands of Hollywood and world history to explain Hollywood's vexed and often vexing relationship to the rise of Nazism., [Doherty's] books on American cinema from the 1930s to the 1950s are essential reading: Pre-Code Hollywood and Hollywood's Censor: Joseph I. Breen & the Production Code Administration .... No one has told this story in as comprehensive or convincing a fashion. As always, Doherty's work is well researched., A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties.The New Yorker, Mr. Doherty fully understands the studio system and how it juggled interference from its own internal agency, the Production Code Administration., With a rich blend of art and politics, Doherty brings to light the story of how Hollywood handled Nazism during Hitler's reign. Recommended., [ Hollywood and Hitler, 1933-1939 ] is painstakingly researched and offers film historians, as well as historians of World War II, a rich, insightful, and engaging portrait of an industry and a world in turmoil., Doherty brings fresh eyes and a witty pen to re-examine the business of US cinema production and distribution in the turbulent pre-war years.... A valuable contribution to scholarship on the subject., Doherty provides a more nuanced and accurate account of Hollywood's relationship with Hitler, and his book should be considered the authority on the subject., Hollywood and Hitler is an excellent addition to Doherty's impressive oeuvre , well worth reading for its important insights, strong narrative, and mastery of the period., A lively, detailed account and a worthy successor to his books Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934 and Hollywood's Censor: Joseph I. Breen and the Production Code Administration ., With a rich blend of art and politics, Doherty brings to light the story of how Hollywood handled Nazism during Hitler's reign. Recommended.Library Journal (starred review), A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties., Doherty masterfully describes how the movie industry, mostly headed by Jews, ultimately came together at a time when the nation needed unity.... The book is crisply written, well documented., An important contribution to the history of Hollywood's response to the Nazi efforts to censor US films targeted for export to Germany.... Highly recommended., Hollywood and Hitler, 1933-1939 tracks the advance of fascism, and the movie industry's reaction on screen and in private.... [A] fascinating work., Mr. Doherty fully understands the studio system and how it juggled interference from its own internal agency, the Production Code Administration. He doesn't deny the greed and fear that motivated studios, but he puts the behavior in context., ... Doherty provides a more nuanced and accurate account of Hollywood's relationship with Hitler, and his book should be considered the authority on the subect..., Doherty's book is well documented and brings together a corpus made of lesser-known, yet signifying feature films., Meticulously researched.... [ Hollywood and Hitler, 1933-1939 ] provides an informed backdrop to scholars looking to contextualize and analyze individual films from the era., Doherty's well researched Hollywood and Hitler 1933-1939 throws fascinating new light on America and the rise of Nazism.
Grade From
College Graduate Student
Illustrated
Yes
Dewey Decimal
791.4309430904
Table Of Content
Prologue: Judenfilm! 1. Hollywood-Berlin-Hollywood "The Hitler Anti-Jew Thing" The Aryanization of American Imports The Aryanization of Hollywood's Payroll 2. Hitler, "A Blah Show Subject" The Disappearance of Jews qua Jews The Unmaking of The Mad Dog of Europe "What about the Jews The Story of a Hollywood Girl in Naziland: I Was a Captive of Nazi Germany (1936) 3. The Nazis in the Newsreels "The Swastika Man" "Naziganda" 4. The Hollywood Anti-Nazi League "Unheil Hitler!" The Politics of Celebrity 5. Mussolini Jr. Goes Hollywood 6. The Spanish Civil War in Hollywood "Censored Pap!" Walter Wanger's Blockade (1938) Loyalist Red Screen Propaganda 7. Foreign Imports "German Tongue Talkers" Anti-Nazism in the Arty Theaters "Nazi Scrammers" 8. "The Blight of Radical Propaganda" Trouble from Rome Over Idiot's Delight (1939) Trouble from Berlin Over The Road Back (1937) Trouble from Washington with the Dies Committee 9. Inside Nazi Germany with the March of Time 10. "Grim Reaper Material" History Unreels "The Present Persecutions in Germany" 11. There Is No Room for Leni Riefenstahl in Hollywood 12. "The Only Studio with Any Guts" The Warner Bros. Patriotic Shorts The Activist Moguls "The Picture That Calls a Swastika a Swastika!": Confessions of a Nazi Spy (1939) 13. Hollywood Goes to War Epilogue: The Motion Picture Memory of Nazism Thanks and Acknowledgments Notes Index
Synopsis
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland "; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939)., Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
LC Classification Number
PN1995.9.N36D65 2013
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