Sex in the Third Reich: this subject is bound to raise wild speculation. What happened behind closed doors of a nation whose regime broke all taboos? More than 300 private pornographic photographs, almost all from one private collection which survived the most adverse conditions, provide ruthless testimony of the high time when those pictures were still sensational and daring, coquettish and provoking, but most of all: prohibited.
In this fascinating volume, Nicholas O’Shaughnessy elucidates the phenomenon of the Nazi propaganda machine via the perspective of consumer marketing, conceptualising the Reich as a product campaign. Building on his acclaimed Selling Hitler (2016), he uses marketing scholarship to show how propaganda and political marketing existed not merely as an instrument of government in Nazi Germany, but as the very medium of government itself. Marketing the Third Reich explores the insidious connection between a mass culture and a political movement, and how the cultures of consumption and politics influence and infect each other – consumerised politics and politicised consumption. Ultimately its concern is with the ‘engineering of consent’ – the troubling matter of how public opinion can be manufactured, and governments elected, via sophisticated methodologies of persuasion developed in the consumer economy. Nazism functioned as a brand, packaging almost everything with persuasive purpose. Revealing obvious parallels between Adolf Hitler’s use of the living theatre of politics, and our present public–political dramaturgy, between Nazi lies and our post-truth, the book raises the chilling question: was Hitler ahead of his time? This radical, original, in-depth study will be an invaluable resource for all scholars of marketing history, political marketing, propaganda and history.
For more than 80 years, images of the Third Reich have appeared in newsreels, documentaries, and fictional stories—from comedies and musicals to war, horror and science fiction films. Many of these representations say as much about the filmmakers as they do about Nazism itself. Hollywood often used the brutal Nazi as an all-purpose villain in escapist adventures set during and after the war, but just as often used him to attack the evil he symbolized. Drawing on studio files, correspondence of the Production Code office and the writings of noted historians and critics, this book describes the making of many such films produced in Hollywood, Nazi Germany, the Soviet Union and Eastern Bloc nations. Biographies of several military and political figures who served as the basis for Nazi characters compare the cinematic and real-life versions.
Beginning in 1982 with The Names and continuing with White Noise and Underworld, DeLillo defined himself as a provocative, articulate anatomist of American culture. Dewey offers an astute assessment of this daunting yet important writer's four-decade cultural critique. Dewey finds DeLillo's concerns to be organized around three rubrics that mark the writer's own creative evolution: the love of the street, the embrace of the word, and the celebration of the soul.
Also known as The Private Life of the Master Race, this is a sequence of twenty-four realistic sketches showing how "ordinary" life under the Nazis was subtly permeated by suspicion and anxiety. Written in exile in Denmark and first staged in 1938 it was inspired in part by his recent trip to Moscow where he had been researching tasks for the anti-Nazi effort.
A masterwork of feminist ideology, brilliantly exposing pornography as the antithesis of free expression and the enemy of liberty In this powerful and devastating critique, poet, philosopher, and feminist Susan Griffin exposes the inherent psychological horrors of pornography. Griffin argues that, rather than encouraging expression, pornographic images and the philosophies that support them actually stifle freedoms through the dehumanization, subjugation, and degradation of female subjects. The pornographic mindset, Griffin contends, is akin to racism in that it causes dangerous schisms in society and promotes sexual regression, fear, and hatred. This violent rift in Western culture is explored by examining the lives of six notable individuals across two centuries: Franz Marc, the Marquis de Sade, Kate Chopin, Lawrence Singleton, Anne Frank, and Marilyn Monroe. The result is an extraordinary new approach to evaluating sexual health and the parameters of erotic imagination. Griffin reveals pornography as “not a love of the life of the body, but a fear of bodily knowledge, and a desire to silence Eros.”