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dc.contributor.advisorDavid Ciarlo.en_US
dc.contributor.authorArmy, Priscilla Wen_US
dc.contributor.otherMassachusetts Institute of Technology. School of Humanities, Arts, and Social Sciences. History Section.en_US
dc.date.accessioned2010-10-22T19:52:48Z
dc.date.available2010-10-22T19:52:48Z
dc.date.copyright2009en_US
dc.date.issued2010en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/59514
dc.descriptionThesis (S.B.)--Massachusetts Institute of Technology, Dept. of Humanities, Arts, and Social Sciences [SHASS], History Section, June 2010.en_US
dc.descriptionCataloged from PDF version of thesis.en_US
dc.descriptionIncludes bibliographical references (p. 66-69).en_US
dc.description.abstractThis thesis examines the implementation of official propaganda issued by the National Socialist regime during the years following Adolf Hitler's rise to power in 1933 up through 1945. By analyzing two very different mediums of propaganda used by the National Socialist party, film and advertising in a middle-class German periodical, I compare subtle and overt propaganda methods, as well as the differing approaches the Reich Ministry for Propaganda took when targeting varying audiences. My first chapter is an in depth analysis of the German Film industry under the Third Reich. I looked at three Nazi propaganda films: Triumph des Willens (1934), a film created in order to establish Hitler's role as the leader of the Third Reich, der ewige Jude (1940), a crude, documentary style, anti-Semitic film, and Jud Siij3 (1940), a feature length entertainment film. A comparison of the content of these films and their respective box office results point out the strengths and weaknesses of different approaches to propaganda films. In my second chapter I explore women's advertisements in the popular German periodical die Gartenlaube. By looking at the evolving depiction of women in advertisements for products such as Nivea-Creme and Nur Blond (a women's hair product), and the imagery of women on the covers of the magazine, I attempt to show the ways in which the National Socialist party attempted to connect the standards of beauty to political and ideological goals, thereby redefining them. The political and ideological propaganda of the party was the "background music" to everyday life, regardless of whether its German viewers were political supporters of the Nazi Party. I argue that the goal of the Reich Ministry for Propaganda and Public Enlightenment was never to transform or mold the minds of the masses, but to reiterate and reinforce pervasive beliefs and to encourage passive acceptance of, or even just minimize opposition to, Nazi ideology and legislation.en_US
dc.description.statementofresponsibilityby Priscilla W. Army.en_US
dc.format.extent69 p.en_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsM.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582en_US
dc.subjectHumanities, Arts, and Social Sciences. History Section.en_US
dc.titleBackground music : National Socialist propaganda and the reinforcement of German virtueen_US
dc.title.alternativeNational Socialist propaganda and the reinforcement of German virtueen_US
dc.typeThesisen_US
dc.description.degreeS.B.en_US
dc.contributor.departmentMassachusetts Institute of Technology. School of Humanities, Arts, and Social Sciences. History Section.en_US
dc.identifier.oclc654114450en_US


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