Academic literature on the topic 'Nazis au cinéma'
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Journal articles on the topic "Nazis au cinéma"
Miraglia, Valentina. "Le cinéma de propagande nazie, trompette de l’apocalypse : Das Wort aus Stein (1939)." Frontières 25, no. 2 (May 9, 2014): 121–33. http://dx.doi.org/10.7202/1024943ar.
Full textAslangul, Claire. "Guerre et cinéma à l’époque nazie." Revue Historique des Armées 252, no. 3 (August 1, 2008): 16–26. http://dx.doi.org/10.3917/rha.252.0016.
Full textLindeperg, Sylvie. "Itinéraires : le cinéma et la photographie à l’épreuve de l’histoire." Cinémas 14, no. 2-3 (May 4, 2005): 191–210. http://dx.doi.org/10.7202/026009ar.
Full textKapczynski, J. "Nazi Film Melodrama * Screen Nazis: Cinema, History and Democracy." Screen 56, no. 2 (June 1, 2015): 289–93. http://dx.doi.org/10.1093/screen/hjv026.
Full textBelov, Sergey I. "REHABILITATION OF THE NAZI REGIME, ITS SUPPORTERS AND ACCOMPLICES IN THE EUROPEAN CINEMATOGRAPHY: CURRENT STATE AND NEW TRENDS IN DEVELOPING MEMORY POLICIES." RUDN Journal of Political Science 21, no. 1 (December 15, 2019): 110–17. http://dx.doi.org/10.22363/2313-1438-2019-21-1-110-117.
Full textMiller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 1 (September 2007): 69. http://dx.doi.org/10.1080/03612759.2007.10527161.
Full textMiller, Cynthia J. "Nazis and the Cinema." History: Reviews of New Books 36, no. 2 (January 2008): 69. http://dx.doi.org/10.1080/03612759.2008.10527194.
Full textClaus, Horst. "Nazis and the Cinema." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 123–25. http://dx.doi.org/10.1080/01439680903577383.
Full textHake, Sabine. ":Nazis and the Cinema." American Historical Review 114, no. 1 (February 2009): 231. http://dx.doi.org/10.1086/ahr.114.1.231.
Full textVon Moltke, Johannes. "Nazi Cinema Revisited." Film Quarterly 61, no. 1 (2007): 68–72. http://dx.doi.org/10.1525/fq.2007.61.1.68.
Full textDissertations / Theses on the topic "Nazis au cinéma"
Frigeri, Renata Aparecida. "O nazismo vai ao cinema : construção identitária na obra de Leni Riefenstahl /." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154083.
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Esta pesquisa visa investigar como Leni Riefenstahl usou o cinema, um instrumento da modernidade, para explorar elementos pertencentes ao romantismo histórico presentes no Zeitgeist, o “espírito do tempo”, e assim redefinir a identidade ariana em sua obra cinematográfica, como almejada por Adolf Hitler. As quatro produções selecionadas para análise são A Luz Azul (Das blaue Licht, 1932), O Triunfo da Vontade (Triumph des Willens, 1935), Olympia (Idem, 1938) e Tiefland (Idem, 1954). Embora as películas contemplem temas distintos e tenham sido produzidas com um intervalo de 22 anos, elas possuem unicidade identária em seu cerne. Esta tese percorre os contextos histórico, político e cultural, respectivamente, por meio das obras de Richard Evans (2014), Ian Kershaw (2010), Peter Gay (1978), Siegfried Kracauer (1988) e Lotte Eisner (1985); os conceitos de cultura e identidade são adotados a partir da perspectiva de Denys Cuche (1999) e Clifford Geertz (2015). Para a análise das películas, elegeu-se como metodologia o esquema quaternário de Massimo Canevacci (1990) e a binariedade proposta por Claude Lévi-Strauss (2012 e 2013). Os filmes selecionados fornecem elementos que permitem aferir o espírito do tempo na Alemanha, assim como a ideologia da diretora, que mesmo após a queda do regime nazista manteve em sua obra elementos identitários alinhados com o propósito de Hitler.
This research seeks to investigate on how Leni Riefenstahl used a modernity instrument such as cinema, to explore elements of historical romanticism in Zeitgeist, the “spirit of time” and therefore redefine the Aryan identity in his cinematographic work, as longed by Adolf Hitler. Four productions were chosen for the analysis, including: The Blue Light (Das Blaue Licht, 1932), Triumph of the Will (Triumph des Willens, 1935), Olympia (Olympia, 1938) and Tiefland (Tiefland, 1954). Although the movies contemplate different themes and were produced with an intermission of 22 years, they share an identity oneness in their core. This present thesis travels through the historical, political and cultural contexts, respectively, by means of Richard Evans’ (2014), Ian Kershaw’s (2010), Peter Gay’s (1978), Siegfried Kracauer’s (1988) and Lotte Eisner’s (1985) works; the concepts of culture and identity are adopted from the perspective of Denys Cuche (1999) and Clifford Geertz (2015). For the movies’ analysis, the methodology chosen were the quaternary scheme by Massimo Canevacci (1990) and the binarity proposed by Claude Lévi-Strauss (2012 and 2013). The selected movies provide elements that allow assess to the spirit of time in Germany, as well as the directors’ ideology, that even after the fall of the Nazi regime she kept identity elements in her works, aligned with Hitler’s purpose.
Rescigno, Anthony. "Les films allemands en Moselle annexée par l’Allemagne nazie (1940-1945) : histoire d’un plaisir oublié." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0368/document.
Full textThis study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. However, the systematic assimilation of all these films to Nazi ideology made it impossible to show them after the fall of the Third Reich and the end of the Second World War.Deliberately conceived as an important tool in the Germanisation of the peoples of eastern France (who were expected to become fully-fledged Germans) and to be used as a propaganda tool for Nazi ideology and a cultural showcase for Germany in annexed Moselle, cinema was a free-spirited leisure activity. The popularity of German cinema is what allowed the authorities to politically manipulate leisure-time, moreover, it was made possible through cultural play or 'homo lumens' and by caring for oneself and the esteem of others. This paradoxical ambivalence is characteristic of a cultural hegemony
Sycher, Alexander. "The Nazi Soldier in German Cinema, 1933-1945." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428959799.
Full textAscheid, Antje. "Hitler's heroines : stardom and womanhood in nazi cinema /." Philadelphia : Temple University Press, 2003. http://catalogue.bnf.fr/ark:/12148/cb39925339n.
Full textAube, Christine Lokotsch. "The Enduring Villain: Germans as Nazi Stereotypes in American Cinema." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626154.
Full textLandry, Olivia Ryan. "The female corpse: sacrificed bodies of Enlightenment tragedy and Nazi cinema." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22047.
Full textCe mémoire aborde le sujet de la représentation de la femme à travers des lectures comparatives de deux tragédies de l'époque de les Lumières, Emilia Galotti (1772) de G. E. Lessing et Dido (1794) de Charlotte von Stein, ainsi que de deux films nazis, La lumière bleue (1932) de Leni Riefenstahl, et Juif Süss (1940) de Veit Harlan. Outre la dimension diachronique évidente de ce projet, ma recherche est organisée par thèmes. En me référant à plusieurs théories et sources secondaires, j'explore ces œuvres en me concentrant sur trois thèmes spécifiques : la sexualité féminine, le sacrifice féminin et finalement le cadavre féminin. Ces trois thèmes illustrent les étapes de l'instrumentalisation et de l'abus rhétoriques du corps féminin dans ces œuvres. Ce mémoire révèle donc ainsi non seulement les parallèles diachroniques imprévues entre les œuvres, et, donc, entre les Lumières et le Nazisme, mais, de façon plus significative, ce mémoire remet en question les interprétations que l'on a faites de ces œuvres quant à la représentation de la femme.
Fleury-Vilatte, Béatrice. "L'epoque nazie dans le cinema allemand d'apres-guerre : culpabilite et parcours de l'oubli." Paris 1, 1986. http://www.theses.fr/1986PA010622.
Full textMendez, Alexa J. "People as Propaganda: Personifications of Homeland in Nazi German and Soviet Russian Cinema." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439280003.
Full textRigotti, Gabriela Fiorin. "A ciranda do pertencimento em "O triunfo da vontade" de Leni Riefenstahl." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253303.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta é uma proposta de investigação sobre a construção de uma narrativa cinematográfica em consagração ao nacionalismo no filme "O Triunfo da Vontade" de Leni Riefenstahl. Nesta busca, procura-se compreender a construção de imagens alegóricas que, inferidas pelo produto fílmico e legitimadas pelos valores e anseios do III Reich, serviriam para corroborar suas aspirações pela raça pura e pelo nacionalismo como sentimento de pertencimento à nação ¿ aludindo e ajudando a construir uma persistente estética de filmagem. O objetivo central desta pesquisa, portanto, é o estudo da forma estética deste filme e de sua persistência na memória contemporânea, buscando-se entender os ideais políticos intrínsecos ao III Reich e ¿ para além dele ¿ aos regimes totalitários
Abstract: This is an proposal¿s inquiry about the construction of a cinematographic narrative in consecrate the nationalism in the film "Triumph of the Will" of Leni Riefenstahl. In this search, it is looked for understanding the use of illustrative images that, inferred by the film and legitimated by the values and yearnings of III Reich, would serve to corroborate its aspirations for a pure race and for the nationalism as feeling of belonging to the nation ¿ alluding and helping to construct an persistent esthetic of filming The central objective of this research, therefore, is the study of the esthetical form of this film and its persistence in the contemporary memory, searching to understand the political ideals intrinsic in the III Reich and ¿ for beyond it ¿ to the totalitarianism
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
Pereira, Wagner Pinheiro. "O império das imagens de Hitler: o projeto de expansão internacional do modelo de cinema nazi-fascista na Europa e na América Latina (1933-1955)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29092008-172531/.
Full textThe main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.
Books on the topic "Nazis au cinéma"
Camarade, Hélène, and Claire Kaiser. Le national-socialisme dans le cinéma allemand contemporain. Villeneuve d'Ascq, France: Presses Universitaires du Septentrion, 2013.
Find full textRichler, Mordecai. St. Urbain's horseman: A novel. New York: Penguin Books, 1992.
Find full textRichler, Mordecai. St. Urbain's horseman. London: Vintage, 1992.
Find full textRichler, Mordecai. Der Traum des Jakob Hersch: Roman. Frankfurt am Main: Fischer Taschenbuch Verlag, 1996.
Find full textRichler, Mordecai. St. Urbain's horseman. Toronto: McClelland & Stewart, 1989.
Find full textRichler, Mordecai. Le cavalier de Saint-Urbain. Paris: Buchet/Chastel, 2005.
Find full textRichler, Mordecai. St. Urbain's horseman: A novel. Toronto: McClelland and Stewart, 1985.
Find full textAscheid, Antje. Hitler's heroines: Stardom and womanhood in Nazi cinema. Philadelphia, PA: Temple University Press, 2002.
Find full textRentschler, Eric. The ministry of illusion: Nazi cinema and its afterlife. Cambridge, Mass: Harvard University Press, 1996.
Find full textJ, Reimer Carol, ed. Nazi-retro film: How German narrative cinema remembers the past. New York: Twayne, 1992.
Find full textBook chapters on the topic "Nazis au cinéma"
Mühlenfeld, Daniel. "Cinema, Art, and Music." In A Companion to Nazi Germany, 385–98. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch23.
Full textNazario, Luiz. "Nazi Film Politics in Brazil, 1933–42." In Cinema and the Swastika, 85–98. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_6.
Full textGrist, Leighton. "Skinheads, Racism, (Neo-)Nazism and the Family." In Fascism and Millennial American Cinema, 29–62. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-59566-9_2.
Full textZakai, Avihu. "Siegfried Kracauer’s From Caligari to Hitler: Weimar Cinema as Pandora’s Box." In Jewish Exiles’ Psychological Interpretations of Nazism, 71–116. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54070-8_4.
Full textWelch, David, and Roel Vande Winkel. "Europe’s New Hollywood? The German Film Industry Under Nazi Rule, 1933–45." In Cinema and the Swastika, 1–24. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_1.
Full textSchiweck, Ingo. "Dutch-German Film Relations under German Pressure and Nazi Occupation, 1933–45." In Cinema and the Swastika, 207–19. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_15.
Full textSørenssen, Bjørn. "From Will to Reality — Norwegian Film during the Nazi Occupation, 1940–45." In Cinema and the Swastika, 220–30. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_16.
Full textRubenfeld, Sheldon, and Daniel P. Sulmasy. "Physician-Assisted Suicide, Euthanasia, and Bioethics in Nazi and Contemporary Cinema." In The International Library of Bioethics, 173–208. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-01987-6_10.
Full textvon Dassanowsky, Robert. "Between Resistance and Collaboration: Austrian Cinema and Nazism Before and During the Annexation, 1933–45." In Cinema and the Swastika, 58–71. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_4.
Full textHaver, Gianni. "Film Propaganda and the Balance between Neutrality and Alignment: Nazi Films in Switzerland, 1933–45." In Cinema and the Swastika, 276–88. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230289321_21.
Full textReports on the topic "Nazis au cinéma"
Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, December 2022. http://dx.doi.org/10.21248/gups.70888.
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