In "Der Kaiser von Kalifornien," also in the series, a young man leaves his native Switzerland and journeys to California in 1836, where through German fanaticism and hard work he turns the wilderness into an agricultural empire.
Strength of an empire two steps from hell movie movie#
The movie he made, "Der Kaiser von Kalifornien" ("The Emperor of California"), is a singular achievement: a Nazi western. Riefenstahl because he was more interested in making another film in the United States. In his memoirs Trenker wrote that he was offered the opportunity to shoot a film of the Olympic Games in 1936 but deferred to Ms. Fanck soon began using his former guide as the star of these movies, alongside another young climber, Leni Riefenstahl. Trenker, a former World War I pilot, was working as a guide in the Alps in 1921 when he was hired to accompany the production crew of Arnold Fanck, the originator of the "mountain film." This hugely popular genre, with its exaltation of the peak and those who could conquer it, appealed to the Nazis. The movie, which Goebbels said could "overwhelm even a non-National-Socialist," is a story of Austrian peasants rising up against Napoleon as an allegory for the Nazis' struggle over the forces of Western democracy. In his first speech to the German film industry, Goebbels praised both Lang and Sergei Eisenstein, the great Soviet director, but he cited as a model only one director from the political right: Luis Trenker, for his 1932 film "Der Rebell" ("The Rebel"). 30, is the first to focus on the entertainment films - historical epics, melodramas, comedies and musicals, rarely screened and mostly unavailable on video - that accounted for more than 85 percent of motion-picture production in the Third Reich. The program of 29 movies, which runs through Nov. The resulting Nazi doppelganger of Hollywood is on view in "The Ministry of Illusion: German Film 1933-45," starting Friday at the Film Society of Lincoln Center, which is a co-sponsor with Goethe House. So while emigrant German film makers like Fritz Lang successfully planted the roots of film noir in Hollywood, those who stayed behind were given the far more difficult task of transplanting the light, optimistic American style to the Third Reich - of creating a dream factory in hell. His theory was that propaganda worked best when an audience didn't know it was there. That mission failed disastrously, and as German film exports under the Nazis fell, Goebbels turned his efforts toward conquering the audience at home.
IN 1933 THE NEW MINISTER OF Popular Enlightenment and Propaganda, Joseph Goebbels, swore that Nazi films would conquer the world ahead of Nazi armies.
0 kommentar(er)
