The film's narrator asserts that: "the Jew is instinctively interested in everything abnormal and depraved." Der ewige Jude ends with Hitlers infamous speech to the Reichstag on January 30, 1939: If international Jewish financiers inside and outside Europe should succeed in plunging the nations once more into a world war, then the result will not be thevictory of Jewry but the annihilation of the Jewish race in Europe. The speech appeared to herald a radicalization of the solution to the Jewish Question in the coming Final Solution, and provided a foreshadowing of mass murder. > The film includes two scenes from the Hollywood film The House of Rothschild (1934). At this time, Poland's Jewish population was about three million, roughly ten percent of the total population. It appeared in five cities during the following eighteen months. Original title: "Der Ewige Jude" English title: "The Eternal Jew" Release date: 19401128AD Release country: Deutsche Reich Producer: Deutsche Filmherstellungs- und Verwertungs GmbH (DFG) Produced for: die Reichspropaganda-leitung der NSDAP Distributor: Terra Film Language: Deutsch/German Run time: 1h 5m 26s (65m 26s) Video: Visual: Black and White The producers apparently filmed this scene because of Hitler's opposition to cruelty to animals. As early as 1938, Goebbels had wanted to have a film crew travel to Poland to shoot the ghetto scenes; however, he was unable to gain permission from the Polish government. Following this is a paper entitled The Eternal Jew in both German and English. It also shows why healthy peoples in every age have responded to Despite the emotional satisfaction afforded the Nazis by carrying out their antisemitism with direct violence, Kristallnacht was considered by Hitler to have been a political disaster both within Germany and internationally. [8], Hitler expressed his frustration and anger at the mixed response from the German media and insisted that, instead of openly calling for violence against the Jews as Goebbels had in instigating the pogrom, Nazi propaganda should "elucidate events of foreign policy" in such a way that the German people themselves would call for violence against the Jews. [11] Throughout the end of 1939 and the beginning of 1940, Goebbels devoted "constant attention" to the production of what he referred to as "the Jew film". At the insistence of Nazi Germany 's Minister of Propaganda, Joseph Goebbels, the film was directed by Fritz Hippler. My Account | WebThe Eternal Jew. This film was quite popular with audiences in Germany and throughout occupied Europe. Marion Pritchard, then a graduate student in In the case of The Eternal Jew, Goebbels conceived of a film that would communicate to the German people the same antisemitic message that had been the theme of the 1937 Munich exhibition. The Holocaust Propaganda 1. Henry A. Kissinger papers, part II. During periods preceding legislation or executive measures against Jews, propaganda campaigns created an atmosphere tolerant of violence against Jews, particularly in 1935 (before the Nuremberg Race Laws of September) and in 1938 (prior to the barrage of antisemitic economic legislation following Kristallnacht). This 1938 poster advertises a popular antisemitic traveling exhibit called. [44] The film was more known by word-of-mouth descriptions than from people actually viewing it. One of the films most notorious sequences compares Jews to rats that carry contagion, flood the continent, and devour precious resources. Undated papers and speeches presented by Professor von Molnr are in the next two files. To illustrate this point, Hippler included a scene from Fritz Lang's film M in which the child murderer Hans Beckert (played by Peter Lorre) makes an impassioned plea to the "jury" of criminals, begging for his life and disclaiming responsibility for his crimes on account of insanity. The film can be roughly divided into four thematic areas: Richard Barsam writes the film's "essential contrast is between myths and stereotypes of Jews and the Nazi ideal of a 'master race,' between the alleged inferiority of the Jews and the superiority of the Germans. Edit. The film was directed by Fritz Hippler at the insistence of Nazi Germany 's Minister of Propaganda, Joseph Goebbels . n. A Jew of medieval legend condemned to wander until the Day of Judgment for having mocked Jesus on the day of the Crucifixion. > The author connects the Jews' migration from the Middle East to Egypt and their following of German colonists to rats traveling as a group, who "even then displayed the same criminal traits that they still displayed". Two other Riefenstahl works, Festival of the Nations and Festival of Beauty (1938), depicted the 1936 Berlin Olympic Games and promoted national pride in the successes of the Nazi regime at the Olympics. His eyes are closed against a secret he is hiding: the composite image represents a putative Jewish conspiracy for world domination. They are cunning, cowardly and cruel and are found mostly in large packs. It is scenes such as these that the film presents as showing Jews "in their natural state."[25]. This sequence includes footage of notable figures who had earned Adolf Hitler's wrath, such as physicist and Nobel laureate Albert Einstein and Spartacist uprising leader Rosa Luxemburg (erroneously named as one and the same person as anarchist Emma Goldman) as representatives of so-called "international Jewry". [12] The SS and police had established Theresienstadt in November 1941 as an instrument of propaganda for domestic consumption in the German Reich. Degenerate art included works of abstract art as well as those from specific individuals such as George Grosz and Emil Nolde, while degenerate music included jazz and so-called Negermusik, although here the connection to Jewry is unknown. Newspapers in Germany, above all Der Strmer (The Attacker), printed cartoons that used antisemitic caricatures to depict Jews. Pictures of starving and emaciated children and adults were portrayed in the movie to show how "degenerate" the Jews were, neglecting to mention that they were in their pitiable state as a direct result of German persecution. The camp-ghetto was used as an explanation for Germans who were puzzled by the deportation of German and Austrian Jews who were elderly, disabled war veterans, or locally known artists and musicians to the East for labor. In preparation for the 1944 visit, the ghetto underwent a beautification program. Home in September 1939, the Nazi regime employed propaganda to impress upon German civilians and soldiers that the Jews were not only subhuman, but also dangerous enemies of the German Reich. The Ministry's aim was to ensure that the Nazi message was successfully communicated through art, music, theater, films, books, radio, educational materials, and the press. How do you explain her statement? [] When he appears without them, then it is only the keen-eyed amongst us who recognise his racial origins. WebThe Eternal Jew exhibition first opened in the Library of the German Museum in Munich on November 8, 1937, and ended on January 31, 1938.Billed as a degenerate-art exhibition, it was the largest prewar anti-Semitic exhibit thus far produced by the Nazi's. WebThe Eternal Jew Anti-Semitism & Nuremburg Laws: The Eternal Jew Anti-Semitism & Nuremburg Laws: Table of Contents | Jews During Holocaust | Anti-Semitism Background: These are eight of the 265 photographs in a book called The Eternal Jew , published by the Nazi Party's publishing house in 1937. As part of its heightened wartime attack on Jews, the Ministry of Propaganda turned to motion pictures as a medium for antisemitic messages. WebThe Nazis effectively used propaganda to win the support of millions of Germans in a democracy and, later in a dictatorship, to facilitate persecution, war, and ultimately genocide. It charged that they had crept into all professions through usury, racketeering and crimes against German assets. Nazi propaganda played an integral role in advancing the persecution and ultimately the destruction of Europes Jews. WebThe Eternal Jew. [17], The movie was produced in a documentary format and, like other Hippler films, relied heavily on narration.[18]. Students discover the complexities of Martha Sharp's rescue project by analyzing historical correspondences. ghetto. > WebThe Eternal Jew is a 1940 antisemitic [2] Nazi propaganda film, [3] presented as a documentary. Call Number. The film's narrator, Harry Giese, went on to narrate other films, but he was associated with this film and other films by the Third Reich and he found less work in the Postwar German cinema of the 1950s and 60s. The ugly Jew is holding part of Russia under his arm, branded with the hammer and sickle. WebDownload Full Text (1.1 MB) Description Yellow postcard with an illustration of a stereotyped Jewish man, holding a cane and map with the Communist hammer and sickle in one hand and coins in the other. They are an international power. This is the books cover, symbolically presenting many of the arguments against Jews. Richard Taylor describes the basic tenet of the film as arguing that "the Jew is an oriental barbarian who has insinuated himself cleverly into European society, and now exploits it parasitically. Web"The Eternal Jew" 1 of 4: 2 of 4: 3 of 4: 4 of 4: Download PDF (1.29 MB) Full Folder View; Collection Information. Washington, DC 20024-2126 It also shows why healthy peoples in every age have responded to The film's initial German title was Der ewige Jude, the German term for the character of the "Wandering Jew" in medieval folklore. We would like to thank Crown Family Philanthropies and the Abe and Ida Cooper Foundation for supporting the ongoing work to create content and resources for the Holocaust Encyclopedia. Narrator: The relativity-Jew Einstein, who concealed his hatred of Germany behind an obscure pseudo-science. Two other Riefenstahl works. He ordered each film studio to make an antisemitic film. Title. Propaganda also encouraged passivity and acceptance of the impending measures against Jews, as these appeared to depict the Nazi government as stepping in and restoring order., Real and perceived discrimination against ethnic Germans in east European nations which had gained territory at Germany's expense following. The Nazis effectively used propaganda to win the support of millions of Germans in a democracy and, later in a dictatorship, to facilitate persecution, war, and ultimately genocide. Alan Nothnagle (New York: Berghahn Books, 2006), 1. 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