German Gluckskind 3

Antisemitism in Film Comedy in Nazi Germany

How party propagandists worked behind the scenes to create unspoken racist messages in the German culture—even in the most lighthearted of movies. Today many Germans look back fondly on 1930s film comedies, viewing them as a part of the Nazi era that was not tainted with antisemitism. Here, Valerie Weinstein scrutinizes these comic productions and demonstrates that film comedy, despite its innocent appearance, was a critical component in the effort to separate "Jews" from "Germans" physically, economically, and artistically. Weinstein highlights how the German propaganda ministry used directives, pre- and post-production censorship, financial incentives, and influence over film critics and their judgments to replace Jewish "wit" with a slower, simpler, and more direct German "humor" that affirmed values that the Nazis associated with the Aryan race. Through contextualized analyses of historical documents and individual films, Weinstein reveals how humor, coded hints and traces, absences, and substitutes in Third Reich film comedy helped spectators imagine an abstract "Jewishness" and a "German" identity and community free from the former. As resurgent populist nationalism and overt racism continue to grow around the world today, Weinstein's study helps us rethink racism and prejudice in popular culture and reconceptualize the relationships between film, humor, national identity, and race.

Graded German readers: book l. Pechvogel und Glückskind, von R. von Volkmann-Leander. book 2. Das tapfere Schneiderlein and Schneewittchen, von J. und W. Grimm. book 3. Erzählungen und Anekdoten. book 4. Eine Nacht im Jägerhaus, von F. Hebbel and Die Geschichte von Kalif Storch, von W. Hauff. book 5. Alle fünfl von H. Stökl.-[v. 2] book 6. Das Holzknechthaus, von P. Rosegger. book 7. Der vergessene Koffer and Vom Bübchen vor der Himmelstür, von H. Stökl. book 8. Das edle Blut, von E. von Wildenbruch

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