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Thesis--Universität Siegen, 1994. / Includes bibliographical references (p. 210-217).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 285-305).

Thesis--Universität Siegen, 1994. / Includes bibliographical references (p. 210-217).

Thesis (doctoral)--Universität, München, 2006. / Includes bibliographical references (p. 378-401).

Thesis (doctoral)--Universität, München, 2006. / Includes bibliographical references (p. 378-401).

Films and their images function to disperse representations of the body that encourage viewers to adopt or reject certain represented appearances and actions. Using this proposition, this thesis explores how notions of the body are visualized in filmic images, such as film posters and photographs used for promotional purposes. In particular, this thesis focuses on how German identities from the end of the Weimar Republic through to the early years of the Third Reich were represented in filmic images. This paper questions whether the introduction of Nazi ideals and the establishment of a state controlled film industry led to new representations of the body in filmic images or whether there is continuity between these images and those of the Weimar Republic. Exploring which bodies, taking into account representations of race. class, gender and sexuality, were privileged and which were vilified in filmic images gives one an idea of how bodies were encouraged to conform socially in the years leading up to and during the Third Reich.

Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.