World War Two
Published 28 Oct 2021How do you convince your people to hate and fear their neighbors, to support a genocidal war of aggression, and see you as their only hope? If you are Adolf Hitler or Joseph Goebbels, the answer is simple: you send them to the cinema.
How Hitler Won the Olympic Games – The Berlin Olympics | BETWEEN 2 WARS I 1936 Part 3 of 3 https://youtu.be/REeszJKmL0k
Hitler’s screen idol – Leni Riefenstahl https://youtu.be/VYjHpC2u7ck
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Between 2 Wars: https://www.youtube.com/playlist?list…
Source list: http://bit.ly/WW2sourcesArchive footage: Screenocean/Reuters – https://www.screenocean.com
Hosted by: Spartacus Olsson
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Director: Wieke Kapteijns
Creative Producer: Maria Kyhle
Written by: James Newman & Spartacus Olsson
Research by: James Newman
Edited by: Karolina Dołęga
Sound design by: Marek Kamiński
Colorizations by:
– Mikołaj Uchman
– KlimbimImage sources:
– New Yourk Public Library
– Bundesarchiv
– Imperial War Museums: IWM WPN 298
– National Archives NARA
– Narodowe Archiwum Cyfrowe
– Fragment of Der Stürmer von Julius Streicher – Hezte und Propaganda courtesy of Staatsarchiv Nürnberg – Aus Der Stürmer, aufbewaht im Staatsarchiv NürnbergSoundtracks from Epidemic Sound:
– “Remembrance” – Fabien Tell
– “Last Point of Safe Return” – Fabien Tell
– “London” – Howard Harper-Barnes
– “Ominous” – Philip Ayers
– “Break Free” – Fabien Tel
– “The End Of The World 2” – Håkan Eriksson
– “The Inspector 4” – Johannes Bornlöf
– “Potential Redemption” – Max Anson
– “Please Hear Me Out STEMS INSTRUMENTS” – Philip Ayers
– “Other Sides of Glory” – Fabien Tell
– “Not Safe Yet” – Gunnar Johnsen
– “Moving to Disturbia” – ExperiaA TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
3 hours ago
Any historian needs to be vigilant to maintain objectivity in the face of huge amounts of historic propaganda, but this is especially the case when creating historiography, and even more so when creating public video historiography covering the Second World War.You see, the mental image and popular narrative of the Nazis and their empire is one of ruthless and brutal hierarchy, discipline, order, and efficiency. Images come to mind of salutes, soldiers walking in perfect formation, and grand pieces of architecture. However, this is exactly what the Nazis wanted their image to be.
So much of what any World War Two documentary will cover will be the Nazi Germany state and military. In order to illustrate information about this, historic footage is often needed. The problem here is that archival footage of the Nazis and their military is so often filmed, produced, and directed by Nazis themselves. This is why we so often see videos of German tanks and trucks, but rarely of the hundreds of thousands of horses the Wehrmacht used to invade their victims. It is also why marching soldiers always seem so organised and efficient, as opposed to the often stumbling and out of step teenagers that any military can have.
Then of course there’s the Nazis themselves, who far from being a highly organised, highly disciplined, hierarchical organisation, more often resembled a criminal syndicate of thugs and bandits, all vying for power and not respecting any guiding code other than “respect the boss”.
While the disconnect between reality and public relations fiction is perhaps most problematic when discussing the Nazis, the same issue affects historical footage from almost all warring sides. So be careful whenever you see some black and white footage from the war, and remember to not always believe what you see on TV (or the newsreel)
