Thesis--Catholic University of America. / Bibliography: p. 203-217.

A paper submitted to The University of Arizona College of Medicine - Phoenix, History of Medicine course.

No description available.

This thesis seeks to dispel the notion that Nazi ideology was merely an afterthought to numerous actions taken by the Nazis. The first chapter discusses how Nazism’s earliest adherents internalized notions from World War I into an ideology that would motivate the early Nazi Movement to launch the Beer Hall Putsch. The second chapter focuses on the Nazi Party’s electoral tactics and how those actions correlated with entrenched Nazi ideological notions of recognition and community. Finally, the third chapter will seek to demonstrate that the numerous repressive measures implemented by the Third Reich were part of a general plan to prepare a future generation of Nazi citizens for, the worldwide struggle for existence. This work exists as a counter to a considerable amount of literature in the historiography that, by maintaining Nazi ideology and Nazi actions were two separate entities, belittles the importance of Nazi ideology thereby fundamentally misunderstanding Nazism.

O propósito principal desta tese de doutorado é desenvolver um estudo de histórias conectadas sobre a expansão internacional do modelo de cinema nazista na Europa e na América Latina, durante as décadas de 1930 e 1950. A influência da Alemanha nazista sobre as indústrias de cinema e as produções cinematográficas da Itália fascista, de Portugal salazarista, da Espanha franquista, do Brasil varguista e da Argentina peronista, representou a tentativa de Berlim tornar-se a Nova Hollywood Mundial e teve importantes implicações políticas, culturais e econômicas em todos esses regimes políticos de massas, que nos propomos analisar. A tese analisa também três instituições político-culturais privilegiadas do III Reich: 1) O Ministério Nacional para Esclarecimento Público e Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), através do qual o ministro da propaganda nazista, Dr. Joseph Goebbels, empenhou-se na conquista do controle total dos meios de comunicação de massa, na reestruturação forçada das indústrias cinematográficas e na padronização das sessões de cinema, impondo uma produção obrigatória, planejada para aumentar o potencial propagandístico do cinema; 2) A Câmara Internacional de Cinema (Internationale Filmkammer IFK), uma organização internacional de representantes da indústria cinematografia de vinte e duas nações, fundada em 1935 para estabelecer o controle hegemônico da Alemanha nazista sobre um espaço europeu econômico e cultural integrado, que pudesse rivalizar com os modelos de cinema dos Estados Unidos da América e da União Soviética e; 3) A Hispano-Film-Produktion (HFP), através da qual o cinema nazista tentou conquistar os mercados hispânicos (Espanha e América Latina). Em termos gerais, a análise das políticas governamentais, dos principais temas políticos apresentados nos filmes, da influência da censura e de outros aspectos relacionados à produção cinematográfica, tais como legislação, políticas de crédito e sistemas de co-produções entre esses regimes políticos de massas, pretende mostrar como o cinema mundial foi influenciado e controlado pela Alemanha nazista, mas apresentou especificidades que procuramos mostrar neste trabalho. / The main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.

O propósito principal desta tese de doutorado é desenvolver um estudo de histórias conectadas sobre a expansão internacional do modelo de cinema nazista na Europa e na América Latina, durante as décadas de 1930 e 1950. A influência da Alemanha nazista sobre as indústrias de cinema e as produções cinematográficas da Itália fascista, de Portugal salazarista, da Espanha franquista, do Brasil varguista e da Argentina peronista, representou a tentativa de Berlim tornar-se a Nova Hollywood Mundial e teve importantes implicações políticas, culturais e econômicas em todos esses regimes políticos de massas, que nos propomos analisar. A tese analisa também três instituições político-culturais privilegiadas do III Reich: 1) O Ministério Nacional para Esclarecimento Público e Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), através do qual o ministro da propaganda nazista, Dr. Joseph Goebbels, empenhou-se na conquista do controle total dos meios de comunicação de massa, na reestruturação forçada das indústrias cinematográficas e na padronização das sessões de cinema, impondo uma produção obrigatória, planejada para aumentar o potencial propagandístico do cinema; 2) A Câmara Internacional de Cinema (Internationale Filmkammer IFK), uma organização internacional de representantes da indústria cinematografia de vinte e duas nações, fundada em 1935 para estabelecer o controle hegemônico da Alemanha nazista sobre um espaço europeu econômico e cultural integrado, que pudesse rivalizar com os modelos de cinema dos Estados Unidos da América e da União Soviética e; 3) A Hispano-Film-Produktion (HFP), através da qual o cinema nazista tentou conquistar os mercados hispânicos (Espanha e América Latina). Em termos gerais, a análise das políticas governamentais, dos principais temas políticos apresentados nos filmes, da influência da censura e de outros aspectos relacionados à produção cinematográfica, tais como legislação, políticas de crédito e sistemas de co-produções entre esses regimes políticos de massas, pretende mostrar como o cinema mundial foi influenciado e controlado pela Alemanha nazista, mas apresentou especificidades que procuramos mostrar neste trabalho. / The main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.

The original research element of this thesis consists of the study of an emerging· professional association of senior managerial employees in business and industry in Weimar Germany. This association which went by the name of VELA, Vereinigung der leitenden Angestellten, or the Organisation of Leading Salaried Employees, was founded in December 1918, and continued in existence until December 1934. Utilising a complete collection of VELA's bi-monthly members' periodical, the development of a coherent ideology of elitism is traced from 1919 to 1933, with the emphasis upon the crystallisation of a world-view compatible and congruent with that of National Socialism by 1924/25. Political convergence with, and support for, the Nazi Party then followed some time after the onset of the Great Depression. A detailed study of the process of Gleichschaltung, or co-ordination, in the spring and summer of 1933 is used to illustrate how easily, readily and enthusiastically VELA embraced the coining of a New Order in the Third Reich.

This thesis focuses on the basics of education in Nazi Germany. A state, which necessitated the need for indoctrination into radical thinking used the schools as a way to promote National Socialism to the country's youth. Consequently, Nazi Party leaders went to great lengths to secure the loyalty of the nation's youth, using education as their main platform.

Diss.-Munich. / Bibliography: p. [297]-312.

Recent scholarship has focused on the response of Jews in the free world to the plight of European Jewry in Nazi-occupied Europe. The work of Anglo- Jewish refugee organisations in facilitating the arrival of over 50,000 refugees in Britain between 1933-1939 has been variously chronicled as a model of charitable endeavour and a half-hearted effort cramped by insecurity and self- interest. More consistently, scholars argue that Anglo-Jewry failed to respond to the catastrophe of the war years with the resolution and vigour that might have saved more lives. This thesis takes issue with the current consensus on both the pre-war and war periods. Anglo-Jewry was a confident, well-integrated community which tackled the escalating problems of refugee immigration in the 1930s with common sense and administrative expertise born of a long tradition of communal charity. Its achievement is all the more remarkable measured against the scale of the disaster, the constraints of government immigration policy regulations and the organisations' own chronic lack of funds. By contrast, the Anglo-Jewish organisations were hamstrung during the war years by their political naivete and inexperience in dealing with government officials. Although their administrative skills remained valuable in areas of relief work such as internment and parcel schemes, their preoccupation with the Jewish humanitarian issue prevented them from grasping the military and logistical implications of their proposals. Misreading the language of diplomacy, they doggedly pursued aims which were in practice, if not in theory, unrealistic. Unlike most previous literature on the record of Anglo-Jewry during this period, this thesis eschews both the didactic and speculative approaches to historical interpretation. Instead of attempting to apportion blame, or to answer hypothetical questions of responsibility, it offers an evaluation based on the evidence available. The thesis examines the quality and scope of rescue and relief work, both of organisations and individuals. What was done, rather than what should have been done, is the focus of attention.