Nazism and cinema

Background

One must also remember that of itself the multitude is mentally inert, that it remains attached to its old habits and that it is not naturally prone to read something which does not conform with its own pre-established beliefs when such writing does not contain what the multitude hopes to find there.
A comprehensive critique of the film industry was published by the Nazi economist Hans Buchner in 1927 with the title "Spellbound by Movies. The Global Dominance of the Cinema". Further short Nazi films about party rallies were made in 1927–1929. The first NSDAP film office was established in 1931, and started producing "documentaries" in a larger scale, e.g., in 1932 "Hitlers Kampf um Deutschland", "Blutendes Deutschland", "Das junge Deutschland marschiert". Herbert Gerdes directed five Nazi propaganda films: Erbkrank, Alles Leben ist Kampf, Was du Ererbt, Schuld oder Schein, and Das Große Geheimnis.
Nazi propagandist Hans Traub, who had earned his PhD in 1925 with a dissertation on the press and the German revolutions of 1848–49, wrote in the essay "The film as a political instrument" in 1932:

Without any doubt the film is a formidable means of propaganda. Achieving propagandistic influence has always demanded a ‘language’ which forms a memorable and passionate plot with a simple narrative. … In the vast area of such ’language’ that the recipients are directly confronted by in the course of technical and economical processes, the most effective is the moving picture. It demands permanent alertness; it’s full of surprises concerning the change of time, space, and action; it has an unimaginable richness of rhythm for intensifying or dispelling emotions.

Goals of the Nazi film policy

Goebbels, who appointed himself "Patron of the German film", believed that a national cinema which was entertaining and put glamour on the government would be a more effective propaganda instrument than a national cinema in which the NSDAP and their policy would have been ubiquitous. Goebbels emphasized the will to end the "shamelessness and tastelessness" that he thought could be found in the former movie industry. The main goal of the Nazi film policy was to promote escapism, which was designed to distract the population and to keep everybody in good spirits; Goebbels indeed blamed defeat in World War I on the failure to sustain the morale of the people.
The open propaganda was reserved for films like Der Sieg des Glaubens and Triumph des Willens, records of the Nuremberg rallies, and newsreels. There are some examples of Nazi-era feature films that deal with the NSDAP or with party organizations such as the Sturmabteilung, Hitler Youth or the National Labour Service, one example being Hitlerjunge Quex about the Hitler Youth. Another example is the anti-semitic feature film Jew Suss. The propaganda films that refer directly to Nazi politics amounted to less than a sixth of the whole national film production, which mainly consisted of light entertainment films.
For conceiving a Nazi film theory, Goebbels suggested as formative material the Hamburg Dramaturgy and Laokoon, or the Limitations of Poetry by Gotthold Ephraim Lessing, and also demanded "realistic characters" pointing to Shakespeare. Goebbels emphasized Lessing's idea that "not only imagining per se, but purposeful imagining, would prove the creative mind".
Emil Jannings wrote in 1942 in the National Socialist Monthly about the goal of showing men and women who can master their own fate as models for identification.
The authorities and NSDAP departments in charge of film policy were the film department of the Ministry of Propaganda, the Chamber of Culture, the Chamber of Film, and the film department of the Party Propaganda Department.
A system of "award" was used to encourage self-censorship; awarded for such things as "cultural value" or "value to the people", they remitted part of the heavy taxes on films. Up to a third of the films in Nazi Germany received such awards.

History

Pre-seizure of power

A Symphony of the Will to Fight, the first film officially produced by the Nazis, was a coverage of the 1927 Nuremberg rally. Nazi activity was later filmed by UFA GmbH, which was acquired by Alfred Hugenberg in 1927.
The Nationalist Socialist Film Service was created in November 1928, and local parties were required to have film projectors starting in 1929. Goebbels established an organization to distribute Nazi films in 1930, but did not receive proper financial backing. Film production and distribution were instead handled by Gauleiters. In 1932, ten Landesfilmstellen were formed to distribute films created by the Nazi Film Service. The Hitler Youth started showing films on a monthly basis in Cologne beginning on 20 April 1934, and this expanded nationally to a weekly basis in 1936.

Takeover

The, formed on 1 June 1933, gave the Nazis financial control over film production as independent producers became dependent on its backing. The Reich Chamber of Film was formed on 14 July, and was later included as one of the seven organizations in the Reich Chamber of Culture. The Film Credit Bank was financing over 73% of feature films by 1936. The Reich Cinema Law, enacted on 1 March 1934, required all film scripts to be approved by a Nazi film advisor.
Hans Hinkel was tasked by Goebbels with removing all Jewish influence from the film industry. Weimar-era films which had Jewish people involved in the production were renamed and had those people removed from the credits. Warner Bros. closed its German affiliate rather than follow Nazi policies on Jews and Universal Pictures' German affiliate, Deutsche Universal, was moved to Vienna and then to Budapest.
German film exports fell as they could not reach screen quotas due to Nazi policies to reduce foreign film imports and widespread censorship inhibiting distributors who wanted to import films. The international box office accounted for 40% of German film earnings during the silent era and was at 30% in 1932, but fell to 11% for 1934–1935.
More and more production companies went bankrupt. The number of companies dropped from 114 to 79 to 38. This did not necessarily lead to a decrease in the number of new films, as the remaining production companies produced many more films. Nazi companies went on to produce co-productions with companies of other countries: eight co-productions with the Kingdom of Italy, six co-productions with the French Third Republic, five co-productions with the Kingdom of Hungary, 5 co-productions with Czechoslovakia, 3 co-productions with Switzerland, two co-productions with the Second Polish Republic and the Empire of Japan, and one each with Francoist Spain, the United States, the Kingdom of Yugoslavia, and Sweden.
State subsidies to the film industry resulted in improved production values: average film production costs quintupled from 250,000 ℛℳ in 1933 to 1,380,000 ℛℳ in 1942. Ticket sales within the Reich quadrupled from 250 million in 1933 to more than a billion in 1942. Box-office sales more than doubled from 441 million ℛℳ in 1938 to over 1 billion ℛℳ in 1942.
File:Bundesarchiv Bild 183-1990-1002-500, Besuch von Hitler und Goebbels bei der UFA retouched.jpg|300px|thumb|Adolf Hitler, Joseph Goebbels, and others watch filming at Ufa, 1935.
Max Winkler oversaw the elimination of economic roadblocks to the nationalization of the film industry. UFA and Tobis Film, who were financially struggling in 1936, now had the majority of their stock controlled by Cautio Trust Company, created by Winkler. Kautio acquired UFA in March 1937, Tobis in May, Terra Film in August, and Bavaria Film was also acquired. Austria and Czechoslovakia's film industries were nationalized into Wien-Film and following their annexations by Germany. On 10 January 1942, UFA-Film GmbH was formed as a giant holding company for the entire German film industry. UFI was a vertically integrated monopoly, covering the entire European film market under German hegemony, with foreign imports cut off. The company's profits surged, reaching 155 million ℛℳ in 1942 and 175 million ℛℳ in 1943.
Fritz Hippler, the director of The Eternal Jew, was placed in charge of the film section of the Reich Ministry of Public Enlightenment and Propaganda.

Propaganda

Since the period of the Weimar Republic, there had also existed an extensive system of educational film hire services which was extended under the Nazi administration. In 1943, there were 37 regional services and 12,042 city services. In parallel, the Party Propaganda Department ran its own network of educational film hire services which included 32 Gaue, 171 district, and 22,357 local services. All film hire services had extensive film collections as well as rental 16 mm film projectors available that made it possible to show films in any class or lecture room and at any group meeting of the Hitler Youth.
One-sixth of the 1,097 feature films produced between 1933 and 1945 were overt propaganda films. The majority of these films were financed by the RMVP's film section. The number of political films produced declined as World War II continued as Goebbels sought to distract the populace from the war.
The Nazis produced three feature-length propaganda films about the party's rise to power in 1933. These were S.A.-Mann Brand, Hitlerjunge Quex, and Hans Westmar. Goebbels praised The Rebel as what Nazi filmmakers should aspire to. Goebbels wanted film propaganda to be done using subtle methods, but Triumph of the Will, which was the opposite of this belief, was produced against Goebbels' wishes.
When the Nazis came to power in 1933, they investigated the family background of Max Skladanowsky to determine if they were Polish Jews. Because Skladanowsky was of non-Jewish origins, he was elevated by the Nazis as a great German cinema innovator. On May 4 1933, an event at Berlin's Atrium cinema honoring Skladanowsky's contributions to German cinema was attended by Joseph Goebbels and in 1935 Adolf Hitler attended a private screening of a Skladanowsky film. Skladanowsky was fully supportive of the Nazis, adding "Heil Hitler!" to many of his letters and describing the Bioskop as a non-Jewish and therefore authentically German invention. Skladanowsky's support for the Nazi embrace of his work came during a time of poverty and may have been motivated by profit. The Nazis had some ambivalence about his work due to his Polish ancestry and because he had fabricated some of his chronology to exaggerate his influence and by the time of his death in 1939 the Nazis interest in his work had declined.
Death Over Shanghai, which was released four weeks before the Nazi rise to power, was re-edited into a pro-Japanese film. Another pro-Japanese film, Port Arthur, was made in 1936.
The United Kingdom's status in Nazi propaganda fluctuated. The Higher Command from 1935 depicted the British and Prussian allied military effort against Napoleon. The Traitor from 1936 depicted British agents as the enemies of German rearmament. The Rothschilds from 1940 had a negative depiction of Arthur Wellesley, 1st Duke of Wellington. The Nazis made the pro-Irish The Fox of Glenarvon and My Life for Ireland during World War II.
A law was passed in 1938 which required newsreels to be played before all commercial film showings. All of the newsreel companies were merged into Die Deutsche Wochenschau on 21 November 1940.
Women Are Better Diplomats, Germany's first feature film in colour, was released in 1941.

International

Around 500 films were exported to the United States between 1933 and 1942. The 79th Street Theater in Yorkville, Manhattan only showed films from Germany. Casino Film Exchange was one of the largest American importers of German and Austrian films in the 1930s, operated a theatre in Yorkville, and presented the films to German-Americans across the country.

Fall of Nazism

Newsreel and film production was hampered by petrol and potassium nitrate shortages in 1944. Goebbels dissolved the departments for theatre, music, and the visual arts in the Propaganda Ministry. Cultural and advertising film production was ended as well.
The Soviet Union dismantled Ufa within its occupation zone in Germany|occupation zone] and created the state-owned DEFA to manage a film monopoly in East Germany. East Germany held the major studios of Berlin, such as Babelsberg Studio and Johannisthal Studios, while Geiselgasteig studio in Munich became one of the film centres of West Germany. All Ufa property was liquidated in the American and British occupation zones on 7 September 1949.
The war had destroyed a large number of Germany's cinemas. Only 10 of Munich's 80 theatres and 100 of Bavaria's 500 theatres were still operating in January 1946. The number of theatres rose to 1,848 in the British zone, 1,268 in the American zone, and 450 in the French zone.

Censorship

Anything that hinted at national weakness or promoted democracy were banned in the country along with other studio projects if they portrayed an image of Germany or history that the Nazis did not want the world to see. They also censored films for moral, political and eugenic infractions. This uniquely aggressive and effective suppressive of speech through film left only the small independent art house films where one could find stories critical of the Nazis in the 1930s.
All Quiet [on the Western Front (1930 film)|All Quiet on the Western Front] was so upsetting to Nazi officials watching the screening in Berlin in December 1930 that it was stopped mid-screening and many edits had to be made before it could be re-released. Universal scrapped all scenes that portrayed Germans in a negative light, and the Germans agreed to screen the film again only if Universal released the censored version worldwide as well.
Using the significant economic power of German moviegoers to self-censor films globally, resulting in all but one Hollywood producers censoring films critical of Nazism and even showing news shorts of film produced by the Nazis in American theaters. No American films that were made between 1933 and 1939 were critical of Nazism, including those released domestically. Warner Brothers, the lone US production company without a partnership with the Nazis, had pulled out of Germany in 1934 after one of its Jewish employees was assaulted in Germany. Paramount Pictures, Metro-Goldwyn-Mayer and Fox Film all kept working with the German market, in part because their revenue was often frozen in German banks and not released right away. Fox and Paramount even collaborated on news reels with the Nazis that were shipped all around the world, in the hopes of getting their frozen assets back.
Warner Brothers released the first film with a plot critical of Nazis, Confessions of a Nazi Spy, in May 1939; the film also fueled unfounded fears of Jewish refugees acting as Nazi spies and contributed to the further restriction of Jewish refugees from Europe. Hollywood's presence started to come under increasing scrutiny after Kristallnacht in 1938, and a wholesale retreat from the country took place in mid-1940, in part because of declining sales in Germany.
These new incentives put in place by the Nazis led to Universal scrapping a project about the sinking of the Lusitania and delaying its sequel to All Quiet on the Western Front to 1936. When production started on The Road Back, all the actors received a letter from Goebbels' emissary in Los Angeles, Georg Gyssling, that none of them would be able to work on projects shown in Germany. Despite the uproar that ensued, the production was completed after 21 preemptive cuts were made, including a sanitized ending that made the world, not Germany, seem culpable for militarism. However, Universal was still blacklisted in Germany. The Nazis insisted on edits to the Warner Brothers film Captured! that showed poor treatment of prisoners at the hands of Germans, and further punished the studio even after they acquiesced by blocking subsequent releases that were expected to perform well in Germany. MGM's cancellation of the anti-Nazi movie Are We Civilized? led to a dozen of their films being approved a week later. The Mad Dog of Europe, one of the first attempts to dramatize Hitler, was dissuaded from going further by the MPAA in 1933, who worried that all American films would be banned in Germany in retaliation.
Goebbels also kept lists of which actors and crew were Jewish or anti-Nazi and refused to import films on which they worked. Georg Gyssling kept an eye on Hollywood scripts and activities, including writing letters to Will H. Hays' office when he found something that he or his bosses did not approve of.
On 13 May 1936, Goebbels banned critics from writing negative reviews on the same day as the exhibition and later banned all negative reviews in November. Critics were required to obtain a license from the Reich Chamber of Culture.

Cinemas

Apart from the Ufa-owned cinema chain, the cinemas were not nationalized. The majority of the 5,506 cinemas that existed in 1939 within the so-called Altreich were small companies run by private owners. However, a large number of rules and regulations issued by the Reichsfilmkammer limited the entrepreneurial freedom of the cinemas considerably. It was mandatory to include a documentary and a newsreel in every film programme. By a law of 1933, the government was also entitled to prohibit the presentation of foreign films. An import quota for foreign films had been set during the Weimar Republic, and during World War II, the import of films from certain foreign countries was completely prohibited. For example, from 1941 onwards, the presentation of American films became illegal.
A quantitative comparison of the percentage of German movies screened vs. foreign movies screened shows the following numbers: in the last year of the Weimar Republic the percentage of German movies was 62%; by 1939 it had risen to 77% while the number of cinema visits increased by the factor 2.5 from 1933 to 1939. On the contrary the percentage of for example American movies screened was reduced from 26% in 1932 to 14% in 1939; from 1933 to 1937 eleven US movies were considered "artistically valuable" by the Nazi authorities.
In order to boost the propaganda effect, the Nazis supported film shows in large cinemas with large audiences where the feeling of being part of the crowd was so overwhelming for the individual spectator that critical film perception had little chance. Film shows also took place in military barracks and factories. The Hitler Youth arranged special film programmes where newsreels and propaganda films were shown. In order to supply even rural and remote areas with film shows, the Party Propaganda Department operated 300 film trucks and two film trains that carried all the necessary equipment for showing films in, for example, village inns. The Nazis intended to use television as a medium for their propaganda once the number of television sets was increased, but television was able initially to reach only a small number of viewers, in contrast to radio. Only a small number of the Einheitsempfänger TV also called People's TV, were produced.
Film propaganda had the highest priority in Germany even under the severe conditions of the last years of World War II. While schools and playhouses stopped working in 1944, cinemas continued to operate until the very end of the war. In Berlin for instance, anti-aircraft units were posted specially to protect the local cinemas in 1944.
On 9 February 1933, Nazi members of the German Cinema Owners' Association demanded that Adolf Engl be appointed leader. The entire board resigned on 18 March, and gave Engl and the Nazis control over the organization.

Star system

There always had been film stars in Germany, but a star system comparable to the star system in Hollywood did not yet exist. Nazi leaders denounced the star system as a Jewish invention. However, in order to improve the image of Nazi Germany, Goebbels made great efforts to form a star system. After Marlene Dietrich and Greta Garbo had gone to Hollywood and could not be persuaded to serve the National Socialist film industry as figureheads, new film stars were promoted.
The best-known example is the Swedish actress Zarah Leander who was hired in 1937 by Ufa and became the most prominent and highest-paid German film star in only a few years. The publicity campaign for Leander was run by the press office of the Ufa, which concealed her past as a film actress already well known in Sweden and put their money right away on her charisma as a singer with an exceptionally deep voice. The Ufa press office provided the newspapers with detailed instructions on how the new star would have to be presented, and even the actress herself had to follow detailed instructions whenever she appeared in public. This kind of star publicity had not existed in Germany before.
Prominent politicians such as Hitler, Goebbels, and Hermann Göring appeared in public flanked by popular German film actors. The female stars in particular were expected to lend some glamour to the dry and male-dominated NSDAP events. Hitler's preferred dinner partners were the actresses Olga Chekhova and Lil Dagover, and from 1935, Hermann Göring was married to the popular actress Emmy Sonnemann. The relationships of Goebbels to several female film stars are also notorious. Magda Goebbels left a screening of the film Die Reise nach Tilsit, because it seemed to her too close a telling of her husband's relationship with Lída Baarová, which had resulted in the actress being sent back to her native Czechoslovakia.
Personal proximity to the political leaders became a determining factor for the career success of film actors. An informal system of listings decided how frequently an actor would be cast. The five categories extended from "to cast at all costs even without a vacancy" to "casting under no circumstances welcome".
How crucial the film stars were for the image of the National Socialist government is also evident from the tax benefits that Hitler decreed in 1938 for prominent film actors and directors. From that time on, they could deduct 40% of their income as professional expenses.
The Nazi film theorist Fritz Hippler wrote in his 1942 book Contemplations on Film-Making: "Enough has been written as to whether 'celebritism' is beneficial or harmful—but one way or the other, it cannot be denied that throughout the world a main motive of people going to the movies is to see the faces they know and love" and Hippler suggested that the stars to be chosen for Nazi cinema should have "European standard" and at the same time appeal to the "Germans' ideal of beauty", so that Germans could identify with them. Non-German actors in the Nazi cinema included Zarah Leander, Marika Rökk, Lída Baarová, Pola Negri, Adina Mandlová, Johannes Heesters, Iván Petrovich, Laura Solari, Angelo Ferrari, Germana Paolieri, Nikolay Fyodorovich Kolin, Boris Alekin, Igo Sym, Rosita Serrano. The Russian Victor Tourjansky and the Hungarian Géza von Bolváry were popular non-German directors.
In 1944, Joseph Goebbels issued a list with "irreplaceable artists" called the Gottbegnadeten list, which included people such as Arno Breker, Richard Strauss, and Johannes Heesters.
During World War II, German film stars supported the war effort by performing for the troops or by collecting money for the German Winter Relief Organization. Although most of the male stars were exempted from military service, some—such as the popular Heinz Rühmann—participated in the war as soldiers, often accompanied by newsreel film crews.
The Bureau for the Promotion of Art worked with sub-divisions of the RMVP to investigate the racial origins of actors. Hans Albers's popularity was able to maintain his acting career despite his relationship with Hansi Burg, a Jewish woman.
Actors and filmmakers such as Fritz Grünbaum, Hans Behrendt, and Max Ehrlich were murdered in The Holocaust. Richard Oswald, Reinhold Schünzel, Wolfgang Zilzer, Henry Koster, Curt Alexander, and others fled Germany after the rise of the Nazis. Liane Haid fled Germany in 1942 stating that "Everything was bombed and because all the good directors had left".

National film award winners

Officially honored films considered by the Nazis to be "artistically valuable" by the state :

Year	Title
1933	S.A.-Mann Brand Hitlerjunge Quex i.e., Hitler Youth Quex Reifende Jugend i.e., Maturing Youth Flüchtlinge i.e., Refugees
1934	Ich für dich, du für mich i.e., I for you, you for me Der Schimmelreiter i.e., The Rider on the White Horse, based on the novella by Theodor Storm Der verlorene Sohn i.e., The Prodigal Son Der Herr der Welt i.e., Master of the World *Stoßtrupp 1917 i.e., Shock Troop 1917 Krach um Jolanthe i.e., Trouble with Jolanthe, based on a book by August Hinrichs
1935	*Hermine und die sieben Aufrechten i.e., Hermine and the Seven Upright Men Liebesleute – Hermann und Dorothea von Heute i.e., A Pair of Lovers – Hermann and Dorothea of today Mazurka Artisten Liebe geht – wohin sie will i.., Love goes – wherever it wants to *Der alte und der junge König i.e., The old and the young King *Das Mädchen Johanna i.e., Lass Joan, a film about the French heroine Joan of Arc Friesennot i.e., Frisians in Hardship Henker, Frauen und Soldaten i.e., Hangmen, Women and Soldiers, a film about two cousins, one fighting on the German side in the Freikorps, the other fighting on the bolshevist side *Liselotte von der Pfalz i.e., The Private Life of Louis XIV, about Elizabeth Charlotte, Princess of the Palatinate Papageno *Der höhere Befehl i.e., The Higher Command
1936	Das Schönheitsfleckchen i.e., The Beauty Spot *Traumulus i.e., The Dreamer Drei Mäderl um Schubert i.e., Three Girls around Schubert, based on a novel by Rudolf Hans Bartsch Stadt Anatol i.e., City of Anatol Stärker als Paragraphen i.e., Stronger than Paragraphs Wenn der Hahn kräht i.e., When the cock crows Schlußakkord i.e., Final Chord Savoy Hotel 217, a crime story in the Russian Empire Fährmann Maria i.e., Ferryman Maria Glückskinder i.e., Lucky Kids 90 Minuten Aufenthalt i.e., 90-Minute-Stopover, a real time film about two friends, a German and a British criminal investigator who solve a case in Lisbon Der Dschungel ruft i.e., The Jungle Calls Der Bettelstudent i.e., The Beggar Student, based on the play by Carl Millöcker Allotria i.e., Tomfoolery *Der Kaiser von Kalifornien i.e., The Kaiser of California *Verräter i.e., The Traitor *Wenn wir alle Engel wären i.e., If We All Were Angels
1937	*Der Herrscher i.e., The Sovereign *Patrioten i.e., Patriots Mein Sohn, der Herr Minister i.e., My Son, the Government Minister, a comedy making fun of the parliamentary system Der Mann, der Sherlock Holmes war i.e., The Man Who Was Sherlock Holmes Gewitterflug zu Claudia i.e., Stormy flight to Claudia *Der zerbrochene Krug i.e., The Broken Jug, based on the play by Heinrich von Kleist *Condottieri, about Cesare Borgia and Caterina Sforza *Die Tochter des Samurai i.e., The Daughter of the Samurai *Urlaub auf Ehrenwort i.e., Leave on Word of Honor
1938	Revolutionshochzeit i.e., Revolution-Marriage *Heimat Der Berg ruft i.e., The Mountain Calls, about the first ascent of the Matterhorn; based on a novel by Carl Haensel Das Verlegenheitskind Jugend i.e. Youth, based on a play by Max Halbe Der Fall Deruga i.e., The Deruga Case, based on a novel by Ricarda Huch Mit versiegelter Order Liebelei und Liebe i.e., Flirtation and Love Napoleon ist an allem schuld i.e., Napoleon Is to Blame for Everything, about a man who studies Napoleon's biography and therefore neglects his wife Geheimzeichen LB 17 i.e., Secret Code LB 17 Verwehte Spuren i.e., Covered Tracks, Verklungene Melodie i.e., Faded Melody, i.e., Dance on the Volcano, about Jean-Gaspard Deburau *Der Katzensteg *Kautschuk i.e., Caoutchouc Die Umwege des schönen Karl i.e., The Roundabouts of Handsome Karl *Pour le Mérite
1939	Es war eine rauschende Ballnacht i.e., It was an Amazing Night at the Ball, a film about the Russian composer Pyotr Ilyich Tchaikovsky Der Schritt vom Wege i.e., The False Step, based on the novel Effi Briest by Theodor Storm Flucht ins Dunkel i.e., Escape in the Dark *Aufruhr in Damaskus i.e., Uproar in Damascus Ein ganzer Kerl i.e., A Real Man Johannisfeuer i.e., Midsummer Night's Fire, based on the book by Hermann Sudermann Der Florentiner Hut i.e., The Leghorn Hat, based on the play Un Chapeau de paille d'Italie by Eugène Marin Labiche Befreite Hände i.e., Liberated Hands Männer müssen so sein i.e., Men Have To Be That Way Hotel Sacher Opernball i.e., Opera Ball *+Robert Koch, der Bekämpfer des Todes i.e., Robert Koch, fighting death *Mutterliebe i.e., A Mother's Love
1940	Der Postmeister i.e., The Postmaster *Wunschkonzert i.e., Request Concert Wiener G'schichten i.e., Vienna Tales Die Geierwally i.e., The Vulture Wally, based on a novel by Wilhelmine von Hillern Das Herz der Königin i.e., The Heart of the Queen, about Mary, Queen of Scots *Friedrich Schiller – Der Triumph eines Genies i.e., Friedrich Schiller – The Triumph of a Genius *Feinde i.e., Enemies *Jud Süß *Bismarck
1941	Friedemann Bach, a film about Johann Sebastian Bach's son Wilhelm Friedemann Bach Ich klage an i.e., I accuse *Mein Leben für Irland i.e., My Life for Ireland *Kampfgeschwader Lützow *Annelie Auf Wiedersehn, Franziska i.e., Goodbye, Franziska Quax, der Bruchpilot *Kopf hoch, Johannes! i.e., Cheer up, Johannes! Operette i.e., Operetta, about Franz Jauner and the establishment of the Viennese Operetta Immer nur Du i.e., You, always Swedish Nightingale (film)|Die schwedische Nachtigall] i.e., The Swedish Nightingale, about Jenny Lind and Hans Christian Andersen *Komödianten i.e., The Comedians **Ohm Krüger **Heimkehr i.e., Coming Home
1942	Wiener Blut i.e., Vienna Blood, a romantic comedy film about the Congress of Vienna *Zwei in einer großen Stadt i.e., Two in a Big City Die goldene Stadt i.e., The Golden City Rembrandt, about the Dutch painter Rembrandt van Rijn Der große Schatten i.e., The Great Shadow Kleine Residenz i.e., Little residence *Hände hoch! i.e., Hands Up! *Diesel, about Rudolf Diesel +Anuschka Meine Frau Teresa i.e., My Wife Theresa *Andreas Schlüter, about sculptor and architect Andreas Schlüter *Wen die Götter lieben i.e., Whom the Gods Love, about Wolfgang Amadeus Mozart *Der Strom i.e., The River Die Nacht in Venedig i.e., The Night in Venice *+Die große Liebe i.e., The Great Love **Der große König i.e., The Great King **Die Entlassung i.e., The Dismissal Wir machen Musik i.e., We Make Music, about a composer whose idols are Johann Sebastian Bach and the like, but who himself fails as a composer of Art music and then succeeds making popular music
1943	Sophienlund Romanze in Moll i.e., Romance in a Minor Key Der ewige Klang i.e., The Eternal Sound, about two brothers, a violinist and a violin maker, guest star: Georges Boulanger, singing: Elisabeth Schwarzkopf Frauen sind keine Engel i.e., Women are not Angels +Immensee, based on the novella by Theodor Storm *Germanin – Die Geschichte einer kolonialen Tat i.e., Germanin – the history of a colonial deed, about the development of Suramin "to save Africa" from trypanosomiasis Altes Herz wird wieder jung i.e., Old heart rejuvenated Armer Hansi i.e., Poor Hansi, animated film by the Deutsche Zeichentrickfilme G.m.b.H Zirkus Renz, about the Circus Renz Späte Liebe i.e., Late Love, about a man who is estranged from his wife but finally they really find together Damals i.e., Back Then *Wien 1910 i.e., Vienna 1910, about the mayor of Vienna Karl Lueger *Paracelsus, about the Swiss German philosopher Paracelsus Ein glücklicher Mensch i.e., A joyful person, about a famous chemistry professor, based on the play "Swedenhielms" by Hjalmar Bergman Der weiße Traum i.e., The White Dream Großstadtmelodie i.e., Melody of a Great City *Der unendliche Weg i.e., The Endless Road
1944	Der gebieterische Ruf i.e., The Masterful Calling Die Feuerzangenbowle i.e., The Punch Bowl *Philharmoniker i.e., Philharmonic Träumerei i.e., Dreaming, about Robert Schumann Das Herz muss schweigen Familie Buchholz i.e., The Buchholz Family, based on a novel by Julius Stinde Orientexpreß i.e., Orient Express +Neigungsehe i.e., Marriage of Affection Opfergang i.e., Way of Sacrifice
1945	**Kolberg

Works cited

• Albrecht, Gerd. Nationalsozialistische Filmpolitik. Munich: Hanser.
• Spiker, Jürgen. Film und Kapital. Der Weg der deutschen Filmwirtschaft zum nationalsozialistischen Einheitskonzern. Berlin: Volker Spiess.

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