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Titlebook: Cinema and the Swastika; The International Ex Roel Vande Winkel (Assistant Professor, Lecturer), Book 2011 Palgrave Macmillan, a division o

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書(shū)目名稱Cinema and the Swastika
副標(biāo)題The International Ex
編輯Roel Vande Winkel (Assistant Professor, Lecturer),
視頻videohttp://file.papertrans.cn/227/226539/226539.mp4
圖書(shū)封面Titlebook: Cinema and the Swastika; The International Ex Roel Vande Winkel (Assistant Professor, Lecturer), Book 2011 Palgrave Macmillan, a division o
描述This is the first publication to bring together comparative research on the international expansion of Third Reich cinema. This volume investigates various attempts to infiltrate - economically, politically and culturally - the film industries of 20 countries and regions either occupied by, friendly with or neutral towards Nazi Germany.
出版日期Book 2011
版次1
doihttps://doi.org/10.1057/9780230289321
isbn_softcover978-0-230-23857-2
isbn_ebook978-0-230-28932-1
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 2011
The information of publication is updating

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https://doi.org/10.1057/9781137287670ck of ‘national’ films; and secondly, and more importantly, to disseminate German culture ‘thereby continuing a tradition, and simultaneously awakening an understanding of the new developments now beginning in Europe’.
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,Competitor or Compatriot? Hungarian Film in the Shadow of the Swastika, 1933–44,man counterpart that his nation’s films would not compete directly with German films since they would be ‘Hungarian’ products, culturally and perhaps racially distinct from those made by Germans. These features, naturally, would attract new audiences, and all sides would benefit from greater trade a
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,Film and Politics in South-east Europe: Germany as ‘Leading Cultural Nation’, 1933–45,ck of ‘national’ films; and secondly, and more importantly, to disseminate German culture ‘thereby continuing a tradition, and simultaneously awakening an understanding of the new developments now beginning in Europe’.
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,German Influence on Belgian Cinema, 1933–45: From Low-profile Presence to Downright Colonisation,respects, international film companies considered Belgium an extension of the French film market. During the Second World War, Nazi Germany seized the opportunity to temporarily change that situation.
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,A Dangerous Neighbourhood: German Cinema in the Czechoslovak Region, 1933–45, between the Bohemian Lands and the German Reich. Following the creation of Czechoslovakia these ties intensified. This trend, which was already noticeable under Austrian rule, manifested itself among other things in the entertainment industry.
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,The Attempted Nazification of French Cinema, 1934–44,taly, and the Soviet Union seemed to highlight French cultural decadence and the deficiencies of liberal democracy vis-à-vis Fascism and Communism. France’s shocking defeat in 1940 and the ensuing German occupation devastated an already weakened nation economically and psychologically.
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