According to John Lukacs, German people's views on Hitler and Nazism once got examined right after the fall the Third Reich in the 1950s but this subject has lost its appeal since then. How do Germans nowadays, specifically those young ones raised in the "New Germany" after the fall of the Berlin Wall, think of Hitler and their country's Nazi legacy? This dissertation is to explore how six young Germans growing up in the new "unified Germany" interpret two films' representations of Hitler and Nazism.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-03-09T15:38:25Z No. of bitstreams: 2 Dissertação - Jeanine Poock de Almeida Drumond - 2017.pdf: 2051910 bytes, checksum: 5d1ada9054c8c7e96deb4c15d214a6da (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-12T11:25:27Z (GMT) No. of bitstreams: 2 Dissertação - Jeanine Poock de Almeida Drumond - 2017.pdf: 2051910 bytes, checksum: 5d1ada9054c8c7e96deb4c15d214a6da (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-12T11:25:27Z (GMT). No. of bitstreams: 2 Dissertação - Jeanine Poock de Almeida Drumond - 2017.pdf: 2051910 bytes, checksum: 5d1ada9054c8c7e96deb4c15d214a6da (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aimed at analyzing the letters that were sent to Hitler between the years of 1925 and 1939 to understand how power was self-constituted with public opinion. From the letters analyzed, we sought to explain the main events between this period, in view of Hitler's views on his political program (1925-1933) and the Nazi state until the beginning of World War II (1933-1939). Through public opinion we sought to understand the scope of Nazi propaganda and how it influenced voters. The letters analyzed in this research demonstrated a high level of veneration, loyalty and fanaticism by the Nazi leader and from the analyzes we tried to clarify how the process of the seizure took power by the Nazis and how the government of Hitler consolidated in Germany. / Esta dissertação tem como proposta analisar as cartas que foram enviadas para Hitler entre os anos de 1925 a 1939 para entendermos como o poder se auto-constituía com a opinião pública. Buscamos, a partir das cartas analisadas, explicar os principais acontecimentos entre esse período, tendo em vista a opinião dos seguidores de Hitler sobre o seu programa político (1925-1933) e o Estado nazista até o início da Segunda Guerra Mundial (1933-1939). Através da opinião pública buscamos compreender o alcance da propaganda nazista e como ela influenciava os eleitores. As cartas analisadas nesta pesquisa demonstraram um alto nível de veneração, lealdade e fanatismo pelo líder nazista e a partir das análises tentamos esclarecer como se deu o processo da tomada de poder pelos nazistas e como o governo de Hitler se consolidou na Alemanha.

This is an analysis of how fin-de-siècle Vienna and its mayor, Karl Lueger, influenced the development of Adolf Hitler’s worldview. The works of many authors were consulted in conjunction with newspapers and memoirs of the period in order to gain a better understanding of what the environment of the Austrian capital was like in the fin-de-siècle period. Several of Vienna’s political, social, and artistic facets are analyzed in an attempt to prove that the general atmosphere of the city influenced Adolf Hitler greatly during his formative years. It is concluded that while Adolf Hitler’s Weltanschauung did not completely crystallize until after World War I, much of what contributed to his personal and political ideology resulted from his personal experiences in Vienna.

No description available.

No description available.

In the post-Second World War period, the medium of film has been arguably the leading popular culture protagonist of a demonized Adolf Hitler. Between 1968 and 1990, thirty-five English-language films featuring representations of Hitler were released in cinemas, on television, or on home video. In the 1968 to 1979 period, fifteen films were released, with the remaining twenty coming between 1980 and 1990. This increase reveals not only a growing popular fascination with Hitler, but also a tendency to use the Führer as a sign for demonic evil. These representations are broken into three categories (1) prominent; (2) satirical; (3) contextualizing which are then analyzed according to whether a representation is demonizing or humanizing. Out of these thirty-five films, twenty-three can be labeled as demonizing and nine as humanizing, and there are three films that cannot be appropriately located in either category. In the 1968 to 1979 period, four films employed prominent Hitler representations, five films satirized Hitler, with six contextualizing films. The 1980s played host to five prominent representations, six satires, and nine contextualizing films. In total, there are nine prominent representations, eleven satires and fifteen contextualizing films. Arguing that prominent representations are the most influential, this study argues that the 1968 to 1979 period formed and shaped the sign of a demonic Führer, and its acceptance is demonstrated by films released between1980 and 1990. However, the appearance of two prominent films in the 1980s which humanized Hitler is significant, for these two films hint at the beginnings of a breakdown in the hegemony of the Hitler sign. The cinematic demonization of Hitler is accomplished in a variety of ways, all of which portray the National Socialist leader as an abstract figure outside of human behaviour and comprehension. Scholarly history is also shown to have contributed to this mythologizing, as the survival myth and myth of the last ten days have their origins in historiography. However, since the 1970s film has arguably overtaken historiography in shaping popular conceptions of the National Socialist leader. In addition to pointing out the connections between film and historiography, this study also suggests other political, philosophical, and cultural reasons for the demonization of Adolf Hitler.

The film <em>Der Untergang</em> (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph <em>Der Untergang</em> (2002) and Traudl JUNGE's and Melissa MÜLLER's <em>Bis zur letzten Stunde</em> (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'Führerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers. <br /><br /> After surveying a variety of films that portray Adolf Hitler, the thesis analyses <em>Der Untergang</em> by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past. <br /><br /> The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler. <br /><br /> Finally, this thesis maintains that <em>Der Untergang</em> gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

In the post-Second World War period, the medium of film has been arguably the leading popular culture protagonist of a demonized Adolf Hitler. Between 1968 and 1990, thirty-five English-language films featuring representations of Hitler were released in cinemas, on television, or on home video. In the 1968 to 1979 period, fifteen films were released, with the remaining twenty coming between 1980 and 1990. This increase reveals not only a growing popular fascination with Hitler, but also a tendency to use the Führer as a sign for demonic evil. These representations are broken into three categories (1) prominent; (2) satirical; (3) contextualizing which are then analyzed according to whether a representation is demonizing or humanizing. Out of these thirty-five films, twenty-three can be labeled as demonizing and nine as humanizing, and there are three films that cannot be appropriately located in either category. In the 1968 to 1979 period, four films employed prominent Hitler representations, five films satirized Hitler, with six contextualizing films. The 1980s played host to five prominent representations, six satires, and nine contextualizing films. In total, there are nine prominent representations, eleven satires and fifteen contextualizing films. Arguing that prominent representations are the most influential, this study argues that the 1968 to 1979 period formed and shaped the sign of a demonic Führer, and its acceptance is demonstrated by films released between1980 and 1990. However, the appearance of two prominent films in the 1980s which humanized Hitler is significant, for these two films hint at the beginnings of a breakdown in the hegemony of the Hitler sign. The cinematic demonization of Hitler is accomplished in a variety of ways, all of which portray the National Socialist leader as an abstract figure outside of human behaviour and comprehension. Scholarly history is also shown to have contributed to this mythologizing, as the survival myth and myth of the last ten days have their origins in historiography. However, since the 1970s film has arguably overtaken historiography in shaping popular conceptions of the National Socialist leader. In addition to pointing out the connections between film and historiography, this study also suggests other political, philosophical, and cultural reasons for the demonization of Adolf Hitler.

There is no abstract available for this thesis.

The rationale for this study is Albert Speer's unique value as a source of information concerning the Third Reich and Adolf Hitler. Although there is a wealth of information available on Nazi Germany and Hitler, the observations of this intelligent man who was an important official of the regime and a close associate of Hitler himself carry weight that no other report can match. He was a well-educated, intellectual, and articulate man who left behind three comprehensive books and many articles and interviews. In addition to such publications, there are, in the National Archives in Washington, D.C., many records of interviews with Speer conducted by Allied personnel immediately following the war. Those documents have been used extensively in this study.There is no attempt either to indict or to vindicate Speer, as many authors have done, but rather the purpose is to present in narrative form an analytical study of the relationship between the two men. The central focus throughout examines Speer and Hitler in juxtaposition and forms conclusions on the nature of their complex and compelling attachment. In the process, historical events form the backdrop as Speer describes them for us. It is always Speer, not Hitler, with whom the primary interest lies.The question of how anyone of Speer's background and intelligence could have given his life to a regime devoted to gutter politics, conquest of a continent, and genocide always arises in any study of Speer. The strange hold the Nazis exert on the world's imagination seems to ebb and flow, but does not die out, nor does the awful suspicion that something similar could happen again. Speer used his writings to describe the process and warn against its resurrection, especially in light of the tremendous leap in technology we have seen. Do not look for monsters, he counseled, for monsters are easily identified and avoided. Beware the manipulators who orchestrate on a national scale those policies which bring harm to whole populations, men who loudly proclaim their humanness and ordinariness.This inquiry is not an attempt to prove a predetermined hypothesis, since it embodies a historical approach rather than an experimental one. Information is drawn from the books and papers of Speer, as well as official documents, but secondary works to corroborate the basic sources are cited at times. There is still no definitive biography of Speer, although he appears as a central figure in many works. Perhaps one of the reasons for this is that the Speer family has put his personal papers in Heidelberg beyond the reach of anyone until 1999, probably as a result of his negative treatment in various publications.The technical papers from the Ministry of Armaments and War Production are housed in the Bundesarchiv at Koblenz, but were not pertinent to this study. The Institut fur Zeitgeschichte in Munich houses official papers, as does the Berlin Document Center, while the Washington has the transcripts of Library of Congress in Hitler's Table Talks, some parts of which are used in this study. Speer's books and published material give an extensive look at his part in the Third Reich, his relationship with Hitler, and his own feelings and observations concerning both. The International Military Tribunal records from Nuremberg are both extensive and enlightening. One may also view the collection of Heinrich Hoffmann, Hitler's personal photographer, in the Special Collections section at Bracken Library.Chapter I deals with Speer in the pre-war years as he rose to fame and became part of Hitler's inner circle, while Chapter II views the war years through Speer's experiences. In Chapter III the early relationship between Speer and Hitler is developed, and in Chapter IV the war, the collapse of the Third Reich, and the attendant disasters are covered.