By Susan Tegel
Ahead of the increase of tv, the cinema was once a key medium of leisure and knowledge. The Nazi regime, which inherited the biggest movie open air Hollywood, realised this, with one of the most memorable photos of Hitler and his get together coming from Leni Riefenstahls movie Triumph of the need. Susan Tegel has written a complete account of the movies made in Nazi Germany from 1933 to 1945, together with the infamous function movie, Jud Süss, and the compilation documentary Der Ewige Jude. She explores intimately how the movie makers have been managed and utilized by the regime and examines different much less famous motion pictures that includes Jewish characters and the way their snapshot differed from movie to movie. She additionally appears to be like on the itself, its reorganization, investment, the interventions of the Propaganda Ministry headed through Goebbels, the compromises which individuals needed to make, the careerism and the hazards which a few confronted both of unemployment or worse.
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But much later. the film industry took on the role of censor when setting up the Motion Picture Producers and Distributors Association, otherwise known as the Hays Office. though individual states still retained the right to control what was screened. Asearlyas 1905Germanyhadacinemareformmovement(KinoreJormbewegung}. Associations of teachers. religious groups and cultural organizations demanded tighter censorship and greater control over the kinds of films being produced and distributed. They preferred cultural and educational films as opposed to Schundfilme (trashy films).
Germany's fledgling film industry - for which Berlin became the centre- arrived relatively late on the scene in about 1910. " There were, however, approximately 2,500 cinemas, with three in Berlin seating more than a thousand. 7 Moreover, by 1913, according to a contemporary study, almost one-third of the German population visited the cinema at least once a week, attracted not only by what was on screen but also by the low price of the tickets, which, unlike theatre tickets, were not booked in advance.
Violent or sexually suggestive films, it was thought, might lower moral standards or encourage crime and delinquency, especially since initially audiences came from lower down the social scale" Censorship was introduced in a number of countries. The state was concerned not only with what was being screened but also with the conditions of screening, especially given makeshift premises and the dangers of fire. A Cinematographic Act was introduced in Britain in 1909, ostensibly to make the premises safe, but it also enabled local authorities to control film content by withholding licences to theatres.
