Reviews life and work. Subsequent chapters document the public relations efforts surrounding Hitler’s appearances at film premieres, his representation in wartime newsreels, and his extensive socializing with celebrities at official functions and society events. Niven rightly highlights the difference between the pre-war and war years. Not only did Hitler become closely involved in the approval process for wartime newsreels and anti-Semitic films such as Jew Süss () and e Eternal Jew (); together with Goebbels, he also created the List of the Divinely Gied that protected film professionals from being sent to the front. Significantly, Hitler’s growing need for shaping the image of Nazi Germany for posterity coincided with concerted efforts to minimize his own film appearances—and conceal his Parkinson’s disease. For scholars of German cinema and media and historians working on the ird Reich, this book does not offer much new information or interpretation. Niven does not engage with the existing scholarship, whether on film propaganda (i.e. newsreels , state-commissioned films) or the kind of mainstream cinema that has inspired numerous studies on studio histories, film genres, and the star phenomenon. As a result, opportunities for deeper engagement are missed: how the kind of top-down approach chosen by Niven complicates our understanding of cinema and ideology, or how the focus on Hitler changes our view of the filmic legacies of the Nazi past beyond the familiar complaints about normalization and commercialization and the implicit assumptions about the right and wrong ways of Vergangenheitsbewältigung . Numerous books (none of which is included in the bibliography) have dealt with these questions, from Eric Rentschler’s e Ministry of Illusion: Nazi Cinema and its Aerlife (Cambridge, MA, and London: Harvard University Press, ) to Gavril Rosenfeld’s Hi Hitler! How the Nazi Past Is Normalized in Contemporary Culture (Cambridge: Cambridge University Press, ) to my own Screen Nazis: Cinema, History, and Democracy (Lincoln: Nebraska University Press, ). Niven’s closing assertion that ‘Hitler stood at the very heart of the world in which all actors and directors had moved during the ird Reich’ (p. ) may be true for the small world of film professionals, cultural bureaucrats, and party ideologues. Other scholars have made similar arguments about Goebbels. However, the focus on powerful men leaves unaddressed the competing political, economic, and artistic interests that in the end proved at least as important to the process of film-making in its various stages and components. A minor point: for anyone familiar with the films discussed, the exclusive use of English translations for German titles can be frustrating. U T A S H National Socialism and German Discourse: Unquiet Voices. By W. J. D. Cham: Palgrave Macmillan. . x+ pp. £. ISBN ––––. is is a book that does not shout its achievements from the rooops. Addressed to and founded in the practice of linguistic analysis as a corrective to hegemonic discourse, National Socialism and German Discourse is as measured, nuanced, and MLR, ., deliberative in its explicit treatment of its concerns as it is forcefully eloquent in its implicit application of the same. ematically, the study offers a discourse history of National Socialism read through the private and public counter-discourses of the ‘unquiet voices’, as those German-speaking dissenters against the regime are referred to who, whether marginalized abroad or at home, ‘found themselves in a kind of exile from their speech community’ (p. ). e book’s front-cover image has programmatic value for its structural and analytical thrust. Depicting the architrave of the Reichstag—formerly home to the Imperial Diet, now the seat of the German federal parliament—its focus is on the building’s contentiously worded dedication to the German people: ‘Dem deutschen Volke’. ough fraught with ideological loading in a post- perspective, the inscription itself dates back to , but at the same time it therefore acts as a reminder that National Socialist ideology and terminology did not arise in a vacuum , and it endures as a visible remainder of the past in the present. Yet, as W. J. Dodd argues in the body of the book, since the Reichstag courtyard has also been inscribed with a counterpoint to the original...
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