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Inter-War Period (between WW 1 and II), How Hollywood Helped Hitler | Between 2 Wars | 1926 Part 2 of 3 - YouTube (2)

How Hollywood Helped Hitler | Between 2 Wars | 1926 Part 2 of 3 - YouTube (2)

power of moving images. In the coming years they will engage leading German filmmakers

sympathetic to the Nazi cause to make propaganda for the party and its leader. Their most effective

film relationship will arguably be with Leni Riefenstahl, a dancer and actress who is already

developing into a filmmaking genius. She is in the process of inventing new ways of shooting

and editing that will soon work for the Nazi cause. She will combine documentary filmmaking

with emotion and pathos in unprecedented ways, and will be so good at her job that one of

her main opponents, John Grierson- the head of the Canadian Film Board during World War

II and the maker of many anti-Nazi propaganda films- is said to have publicly kissed her

feet in admiration when he eventually met her after the war. Riefenstahl will create

three Nazi propaganda films. Two of them, Der Sieg des Glaubens and Triumph des Willens,

will make movie history.

And despite her films' content, Riefenstahl continues to influence filmmakers to this

day. Her body of work has influenced films like Star Wars, Apocalypse Now, and even Schindler's

List, a film with the exact opposite message of her own. Her support for the Nazi regime,

will however destroy her reputation forever. Postwar, it will take until she is over 90

years old before she will be allowed to complete another film, a three-hour underwater nature

epic. To do so, she will learn how to scuba dive at 88 - becoming the oldest person to

ever take a diving license. Completed in the late 1990s, it will again be a masterpiece

of filmmaking.

But back to the interwar era!

It won't only be willing admirers and sympathetic travellers who help Goebbels. He will effectively

appropriate the star system from the 1920s and put it to work for the Nazis. In 1933,

together with Alfred Hugenberg, a German media mogul and the first Nazi Minister of Economics,

he will take control of the leading German film studio UFA. Parallel to creating propaganda,

UFA will continue to produce entertainment films, with the slight difference that they

are now pro-Nazi and work as subtle, invasive tools to spread the ideology of the party.

In the 1930s UFA will produce and distribute in Germany, France, Belgium, and the United

States, so that stars from the whole world, either wittingly or unwittingly, will now

work for the Nazis to promote their cause, and we're talking serious paycheck stars

like Hans Albers, Zarah Leander, and Valentinos last lover, Pola Negri.

In fact Negri had begun her career with UFA in the teens and early twenties. In 1935 she

will be brought back to Germany to star in the murder drama “Mazurka” for Tobis films,

another Nazi label. The film will be an instant hit and become one of Hitler's favourite

films. UFA will see their chance to reclaim their star and make her an exceptional offer.

She will settle in France and work for UFA, producing five films by 1938, but her public

association with the Nazi media machine and Hitler's fan-girl like adoration of her

will lead to the French gossip magazine “Pour Vous” publicizing an alleged love affair

between Pola and the Führer. Negri sues the magazine for libel and wins. That lawsuit

and the fact that she flees back to the US when the Germans invades France will save

her reputation in contrast to Riefenstahl, Albers, and Leander who will forever remain

branded by the Swastika.

OK, in 1926 that is still in the future, but Mussolini as you can see has already started

to spread his image across the world as a powerful protector of Italian culture.

In march of this year Hitler and Goebbels meet for the first time officially, during

the now resurrected Nazi party's annual conference in Weimar. The two are instant

brothers in arms and Hitler starts promoting Goebbels through the partly hierarchy. Goebbels,

party member since 1924 has already been working on his plans to use propaganda effectively

for the Nazi cause. One year form now in 1927 he will arrange for the party conference to

be filmed for the first time and then proceed to painstakingly document the Nazis' rise

to power in pictures and film. He will work incessantly to take control of media outlets

that are friendly to the Nazi cause. He will craft Hitler's notoriety using the tools

that are presently being created for the movie star system. The image of a Führer that will

save Germany which Hitler has already started to build for himself will be broadcast so

loudly and effectively by Goebbels, that by 1932 as the electorate go to the booths in

yet another confused Weimar parliamentary election, there will not be a single person

in all of Germany, no matter how they will vote, that doesn't either fear or admire

the Austrian with

the Chaplin moustache.

How Hollywood Helped Hitler | Between 2 Wars | 1926 Part 2 of 3 - YouTube (2) |Голливуд|помог||между|войн||из|Ютуб wie||half||zwischen|Kriegen|||YouTube |Hollywood||Hitler||||| Cómo|Hollywood|ayudó|Hitler||||| Wie Hollywood Hitler geholfen hat | Zwischen 2 Kriegen | 1926 Teil 2 von 3 - YouTube (2) Πώς το Χόλιγουντ βοήθησε τον Χίτλερ | Μεταξύ 2 Πολέμων | 1926 Μέρος 2 από 3 - YouTube (2) Cómo Hollywood ayudó a Hitler | Entre 2 Guerras | 1926 Parte 2 de 3 - YouTube (2) چگونه هالیوود به هیتلر کمک کرد | بین 2 جنگ | 1926 قسمت 2 از 3 - YouTube (2) Comment Hollywood a aidé Hitler | Entre 2 guerres | 1926 Partie 2 de 3 - YouTube (2) Hogyan segített Hollywood Hitlernek | Két háború között | 1926 2. rész 3. rész - YouTube (2) Come Hollywood aiutò Hitler | Tra le due guerre | 1926 Parte 2 di 3 - YouTube (2) ハリウッドはいかにしてヒトラーを助けたか｜2つの戦争の間｜1926年 Part 2 of 3 - YouTube (2) 할리우드가 히틀러를 도운 방법 | 2차 대전 사이, 1926년 2부/3부 - YouTube (2) Hoe Hollywood Hitler hielp | Tussen 2 Oorlogen | 1926 Deel 2 van 3 - YouTube (2) Jak Hollywood pomogło Hitlerowi | Między 2 wojnami | 1926 Część 2 z 3 - YouTube (2) Como Hollywood ajudou Hitler | Entre 2 Guerras | 1926 Parte 2 de 3 - YouTube (2) Как Голливуд помогал Гитлеру | Между двумя войнами | 1926 г. Часть 2 из 3 - YouTube (2) Hollywood 2 Savaş Arasında Hitler'e Nasıl Yardım Etti | 1926 Bölüm 2/3 - YouTube (2) Як Голлівуд допоміг Гітлеру | Між двома війнами | 1926 р. Частина 2 з 3 - YouTube (2) Hollywood đã giúp Hitler như thế nào | Giữa 2 Cuộc Chiến | 1926 Phần 2/3 - YouTube (2) 好莱坞如何帮助希特勒 |两次战争之间 | 1926 年第 2 部分，共 3 部分 - YouTube (2) 好萊塢如何幫助希特勒 |兩次戰爭之間 | 1926 年第 2 部分，共 3 部分 - YouTube (2)

sympathetic to the Nazi cause to make propaganda for the party and its leader. Their most effective |||nazi-sympathisant||||||||||||| ナチスの大義に同情的|||||||||||||||| simpatizante|a||nazi||a|hacen|propaganda nazi|||||su|líder|su|más|efectiva a náci eszmékkel szimpatizálók, hogy propagandát csináljanak a párt és vezetője számára. A leghatékonyabb ナチスの大義に共感して、党とその指導者のためのプロパガンダを作る。彼らの最も効果的な có thiện cảm với chính nghĩa Quốc xã để tuyên truyền cho đảng và lãnh đạo của nó. hiệu quả nhất của họ

film relationship will arguably be with Leni Riefenstahl, a dancer and actress who is already ||||||Leni Riefenstahl|Leni Riefenstahl||||||| película|relación||probablemente|ser|con|Leni|Riefenstahl|||||||ya filmes kapcsolata vitathatatlanul Leni Riefenstahl táncosnővel és színésznővel lesz, aki már レニ・リーフェンシュタールとの関係は、間違いなく、ダンサーであり女優である。

developing into a filmmaking genius. She is in the process of inventing new ways of shooting desarrollando|en||cine|genio|||||proceso||inventando||maneras|| filmes zsenivé fejlődik. Jelenleg új filmforgatási módszereket talál ki. phát triển thành một thiên tài làm phim. Cô ấy đang trong quá trình phát minh ra những cách chụp mới

and editing that will soon work for the Nazi cause. She will combine documentary filmmaking és szerkesztés, amely hamarosan a náci ügy érdekében fog dolgozni. A dokumentumfilmkészítést kombinálja và chỉnh sửa sẽ sớm hoạt động vì chính nghĩa của Đức Quốc xã. Cô sẽ kết hợp làm phim tài liệu

with emotion and pathos in unprecedented ways, and will be so good at her job that one of |情感||情感|||||||||||||| |||emotie en pathos|||||||||||||| |||patetismo|||||||||||||| az érzelmekkel és a pátosszal példátlan módon, és olyan jól fogja végezni a munkáját, hogy az egyik với cảm xúc và bệnh hoạn theo những cách chưa từng có, và sẽ làm tốt công việc của mình đến nỗi một trong những

her main opponents, John Grierson- the head of the Canadian Film Board during World War ||||John Grierson|||||||||| ||||||||||Cine|||| fő ellenfelei, John Grierson - a Kanadai Filmbizottság vezetője a világháború idején -, a kanadai filmgyártó cég vezetője... đối thủ chính của cô, John Grierson- người đứng đầu Hội đồng Điện ảnh Canada trong Thế chiến

II and the maker of many anti-Nazi propaganda films- is said to have publicly kissed her ||||||||||||||públicamente|| II. és számos náciellenes propagandafilm készítője - állítólag nyilvánosan megcsókolta őt. II và là nhà sản xuất nhiều bộ phim tuyên truyền chống Đức quốc xã- được cho là đã hôn cô ấy một cách công khai

feet in admiration when he eventually met her after the war. Riefenstahl will create lábát csodálattal, amikor a háború után végül találkozott vele. Riefenstahl megalkotja ngưỡng mộ khi cuối cùng anh gặp cô sau chiến tranh. Riefenstahl sẽ tạo ra

three Nazi propaganda films. Two of them, Der Sieg des Glaubens and Triumph des Willens, |||||||De|Overwinning|van de|geloof||||van de wil |ナチ||||||「ザ」|勝利||信念||||意志 |||||||el|la victoria||fe||Triunfo||la voluntad három náci propagandafilm. Ezek közül kettő, a Der Sieg des Glaubens és a Triumph des Willens, ba bộ phim tuyên truyền của Đức quốc xã. Hai trong số họ, Der Sieg des Glaubens và Triumph des Willens,

will make movie history. filmtörténelmet fog írni. sẽ làm nên lịch sử điện ảnh.

And despite her films' content, Riefenstahl continues to influence filmmakers to this |a pesar de|||||||||| Và bất chấp nội dung phim của cô ấy, Riefenstahl tiếp tục ảnh hưởng đến các nhà làm phim về điều này

day. Her body of work has influenced films like Star Wars, Apocalypse Now, and even Schindler's ||作品||||||||||||| |||||||||||||||Schindlers lijst |||||||||||Apocalipsis|ahora||incluso| ngày. Công việc của cô ấy đã ảnh hưởng đến các bộ phim như Star Wars, Apocalypse Now, và thậm chí cả Schindler's

List, a film with the exact opposite message of her own. Her support for the Nazi regime, Lista(1)|una|película||||opuesto||||propia||apoyo|por||| List, một bộ phim với thông điệp hoàn toàn ngược lại với chính cô ấy. Sự ủng hộ của cô ấy đối với chế độ Đức quốc xã,

will however destroy her reputation forever. Postwar, it will take until she is over 90 ||||||na de oorlog||||||| verbo auxiliar|sin embargo||||para siempre||||tomará|hasta|||más de tuy nhiên sẽ hủy hoại danh tiếng của cô ấy mãi mãi. Sau chiến tranh, sẽ mất cho đến khi cô ấy hơn 90 tuổi

years old before she will be allowed to complete another film, a three-hour underwater nature ||||||||||||||水下| ||antes||verbo auxiliar|ser|permitida|||otra|||||submarino|documental tuổi trước khi cô ấy được phép hoàn thành một bộ phim khác, tính chất dưới nước dài ba giờ

epic. To do so, she will learn how to scuba dive at 88 - becoming the oldest person to 史诗|||||||||潜水||||||| épica||||||aprenderá|||bucear|bucear||convirtiéndose||||

ever take a diving license. Completed in the late 1990s, it will again be a masterpiece

of filmmaking.

But back to the interwar era!

It won't only be willing admirers and sympathetic travellers who help Goebbels. He will effectively ||||愿意的|||||||||| |||||||||||Goebbels helpen||| |||||beundrare||medkännande||||||| ||||dispuestos||||||||||

appropriate the star system from the 1920s and put it to work for the Nazis. In 1933, |||||||||||运用|||| ||||||||||||||nazi's| 適切な|||||||||||||||

together with Alfred Hugenberg, a German media mogul and the first Nazi Minister of Economics, |||||||大亨||||||| |||Hugenberg||||mediamagnaat||||||| |||||||大物|||||||

he will take control of the leading German film studio UFA. Parallel to creating propaganda, ||||||||||UFA-filmbedrijf||||

UFA will continue to produce entertainment films, with the slight difference that they

are now pro-Nazi and work as subtle, invasive tools to spread the ideology of the party. |||||||微妙的|侵入性的|||||||| ||||||||indringende|||||||| |||||||微妙な|侵略的な||||||||

In the 1930s UFA will produce and distribute in Germany, France, Belgium, and the United

States, so that stars from the whole world, either wittingly or unwittingly, will now |||||||||故意||无意中|| |||||||||opzettelijk||onbewust|| |||||||||意識的に||||

work for the Nazis to promote their cause, and we're talking serious paycheck stars ||||||||||||薪水|

like Hans Albers, Zarah Leander, and Valentinos last lover, Pola Negri. |zoals Hans Albers|Albers|Zarah Leander|Zarah Leander||Valentino's laatste geliefde|||Pola Negri|Pola Negri

In fact Negri had begun her career with UFA in the teens and early twenties. In 1935 she ||||comenzado||||||||||||

will be brought back to Germany to star in the murder drama “Mazurka” for Tobis films, ||||||||||||||Tobis(1) 电影| ||||||||||||Mazurka||Tobis-films|

another Nazi label. The film will be an instant hit and become one of Hitler's favourite ||||||||||||||Hitlers favoriete film|

films. UFA will see their chance to reclaim their star and make her an exceptional offer. |UFA||||||重新夺回|||||||卓越的| |||||||terugwinnen|||||||| ||||||||||||||特別な|

She will settle in France and work for UFA, producing five films by 1938, but her public

association with the Nazi media machine and Hitler's fan-girl like adoration of her |||||||||||崇拜||

will lead to the French gossip magazine “Pour Vous” publicizing an alleged love affair ||||||||Pour Vous|||vermeende|| |||||||||||疑わしい|| |||||chisme||||||||

between Pola and the Führer. Negri sues the magazine for libel and wins. That lawsuit ||||||||||诽谤|||| ||||Führer||||||smaad en laster|||| ||||||||||名誉毀損||勝つ||

and the fact that she flees back to the US when the Germans invades France will save

her reputation in contrast to Riefenstahl, Albers, and Leander who will forever remain ||与||||||||||

branded by the Swastika. 标志性|||卍 gebrandmerkt door de swastika|||Gebrandmerkt door hakenkruis 刻印された|||ハーケンクロイツ

OK, in 1926 that is still in the future, but Mussolini as you can see has already started |||||||||Mussolini begonnen heeft|||||||

to spread his image across the world as a powerful protector of Italian culture. |传播||||||||||||

In march of this year Hitler and Goebbels meet for the first time officially, during |||这一||||戈培尔|||||||

the now resurrected Nazi party's annual conference in Weimar. The two are instant ||||||||魏玛|||| ||||||||Weimar||||

brothers in arms and Hitler starts promoting Goebbels through the partly hierarchy. Goebbels, |||||||||||部分层级|

party member since 1924 has already been working on his plans to use propaganda effectively

for the Nazi cause. One year form now in 1927 he will arrange for the party conference to |||大義|||||||||||||

be filmed for the first time and then proceed to painstakingly document the Nazis' rise ||||||||||艰苦地|||| ||||||||||nauwgezet|||| ||||||||進む||丹念に||||

to power in pictures and film. He will work incessantly to take control of media outlets |||||||||不断地||||||

that are friendly to the Nazi cause. He will craft Hitler's notoriety using the tools ||||该|||||塑造||声名狼藉||| |||||||||vormgeven aan||beruchtheid||| |||||||||||悪名|||