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Cinema de Weimar até ao 3º Reich: Poder e “Nationalcharakter”
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Abstract(s)
Embora o rádio Volksempfänger e a imprensa Hugenberg tenham funcionado
como veículos preferenciais de propaganda política mesmo antes do Terceiro Reich, o
cinema também foi usado para estes fins. Após a tomada de poder e contra a resistência
do seu Ministro de Propaganda, Goebbels, Hitler escolheu Leni Riefenstahl como
realizadora principal da encenação da ideologia do Nazismo. Com a ajuda da UFA o novo
médium foi explorado para ‘documentar’ tanto o alegado ‘espírito alemão’, como as
influências consideradas negativas e prejudiciais para a ‘alma do povo’. O filme, como
produto "coletivo" (Eisenstein, Vertov, Brecht), sempre foi conscientemente
instrumentalizado, tanto pela propaganda Nazi e Soviética como pela política de outros
países. Todavia, existem abordagens de historiadores, sociólogos e críticos de cinema que
ligam determinadas tendências na produção cinematográfica alemã durante a República
Weimariana ao surgimento do Nazismo (Kracauer, De Caligari a Hitler, 1947; Eisner, O
Écrã Demoníaco, 1952). Esta comunicação propõe um olhar crítico a estas abordagens.
Although the Volksempfänger radio and the Hugenberg press functioned as preferred vehicles of political propaganda even before the Third Reich, cinema was also used for these purposes. After the seizure of power and against the resistance of its Minister of Propaganda, Goebbels, Hitler chose Leni Riefenstahl as principal director of the staging of the ideology of Nazism. With the help of UFA the new way was exploited to 'document' both the alleged 'German spirit' and the influences considered negative and harmful to the 'soul of the people'. The film, as a "collective" product (Eisenstein, Vertov, Brecht), has always been consciously instrumentalized, both by Nazi and Soviet propaganda and by the politics of other countries. However, there are approaches by historians, sociologists, and film critics who link certain trends in German filmmaking during the Weimar Republic to the rise of Nazism (Kracauer, De Caligari to Hitler, 1947, Eisner, The Demonic Screen, 1952). This communication proposes a critical look of these approaches.
Although the Volksempfänger radio and the Hugenberg press functioned as preferred vehicles of political propaganda even before the Third Reich, cinema was also used for these purposes. After the seizure of power and against the resistance of its Minister of Propaganda, Goebbels, Hitler chose Leni Riefenstahl as principal director of the staging of the ideology of Nazism. With the help of UFA the new way was exploited to 'document' both the alleged 'German spirit' and the influences considered negative and harmful to the 'soul of the people'. The film, as a "collective" product (Eisenstein, Vertov, Brecht), has always been consciously instrumentalized, both by Nazi and Soviet propaganda and by the politics of other countries. However, there are approaches by historians, sociologists, and film critics who link certain trends in German filmmaking during the Weimar Republic to the rise of Nazism (Kracauer, De Caligari to Hitler, 1947, Eisner, The Demonic Screen, 1952). This communication proposes a critical look of these approaches.
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Keywords
Cinema de Weimar Terceiro Reich Poder Nationalcharakter Weimar cinema Third Reich Power Nationalcharakter . Faculdade de Artes e Humanidades
Citation
Publisher
Universidade da Madeira