The killing films

  • (Read Danish version here.)

“We believe film is one of the most modern and economical tools for mass influence. Therefore, a government cannot leave film to its own devices.” — Propaganda minister Goebbels

The propaganda medium the Nazis deemed most important was film. In one of his earliest speeches as Minister of Propaganda, Joseph Goebbels declared that it was the mission of German cinema to lead the Nazi conquest of the world. Goebbels believed film to be the most effective instrument for indoctrinating the masses.

To ensure their propaganda films reached the entire German population, the Nazis secured control of over 5,000 cinemas operating in Germany before the war. To extend their reach into rural areas, they deployed 1,000 mobile cinema units to screen films in churches, taverns, or even barns.

The Nazis recognized that film was not just a tool for influence but also an effective way to distract Germans from daily hardships. Particularly when the war effort faltered, showing escapist films proved a powerful way to prevent negative thoughts about Hitler’s policies. Notably, in bombed areas, cinemas were often prioritized for reconstruction over hospitals and shelters for the homeless.


“Remove Jews from the Film Industry”

Just months after seizing power in 1933, Goebbels established the Reich Film Chamber, which centralized all branches of the film industry under one authority.

Membership in the Reich Film Chamber was mandatory for anyone working in the industry, from sound technicians to producers. Without membership, individuals were barred from participating in any film production. This allowed the Nazis to exclude those they deemed undesirable—chiefly Jews, Communists, and Social Democrats.

The Nazis claimed Jews dominated the German film industry and used their influence to produce “degenerate” and culture-eroding films. Allegedly, 70% of film scripts were written by Jews, 50% of films were directed by Jews, and 70% of film companies were owned by Jews. Moreover, they claimed 90% of the distribution apparatus was controlled by Jewish financiers.

While Jews were indeed present in the film industry in the 1930s, these figures were grossly exaggerated, serving to justify purges against Jewish professionals.


The Nazi Film Academy

As the German film industry came increasingly under Nazi control, Goebbels opened the German Film Academy in 1938, located in Babelsberg. It offered training in all aspects of modern filmmaking, spanning 23 disciplines including technical production, acting, scriptwriting, and directing.

The academy’s mission was twofold: to elevate German films to rival Hollywood technically and to ensure the ideological purity of future filmmakers. The curriculum included courses on “The Nazi Worldview,” “The Nordic Human and Their Vision of the World,” “The Prussian Model,” and “The Nazi Racial Doctrine.” These courses ensured that students would create films befitting the Aryan master race.


Nazi Films on the Rise

Shortly after creating the Reich Film Chamber, Goebbels introduced a new film law enabling censorship of works that conflicted with Nazi ideology. Manuscripts had to be approved by a “Reich Film Dramaturge,” who ensured Nazi themes permeated the storylines.

Producers who complied could still face final censorship, as any deviation from Nazi ideology could result in a film being banned and financial ruin. To incentivize compliance, Goebbels established a reward system: films deemed “Youth-valuable,” “Politically valuable,” or “Artistically valuable” were granted tax breaks.

This system not only encouraged filmmakers to align with Nazi principles but also ensured propagandistic films reached the widest audiences. Key premieres were accompanied by high-profile press coverage and scheduled during holidays to maximize viewership.


Hitler’s Direct Approach vs. Goebbels’ Subtlety

Adolf Hitler believed propaganda should be straightforward, hammering its message directly into the minds of the masses. He viewed the public as a homogeneous, emotional collective incapable of grasping complex ideas. Films should focus on simple themes like racism, antisemitism, nationalism, and the strong leader archetype.

Goebbels, on the other hand, advocated for a subtler approach. He feared that overtly propagandistic films would desensitize audiences to their messages. Instead, he promoted “tendency films,” where Nazi ideology was subtly woven into plots, characters, and settings. These films influenced viewers without their conscious awareness, making them more susceptible to manipulation.


The Infamous “Triumph of the Will”

Triumph of the Will remains one of the most famous propaganda films ever made. Directed by Leni Riefenstahl at Hitler’s personal request, it portrays the 1934 Nazi Party rally in Nuremberg. While framed as a documentary, it is pure propaganda, celebrating Hitler as a divine savior of Germany.

The film uses cinematic techniques to present Hitler as a messianic figure. He descends from the sky in the opening scene and ascends to heaven, symbolized by marching soldiers, in the closing moments. The imagery intertwines nationalism, militarism, and Aryan idealism in a spectacle designed to evoke awe and devotion.


Hidden Propaganda: “Jud Süß”

One of the most infamous “tendency films” was Jud Süß, which premiered in Danish cinemas as well. Ostensibly set in 18th-century Stuttgart, the film follows the titular Jewish character, Süß, who infiltrates the city by deceiving its leaders. He exploits his position to oppress and defraud the Aryan population, embodying antisemitic stereotypes.

The film was presented as historical drama, but its true purpose was to incite hatred against Jews. By embedding its propaganda within an engaging narrative, Jud Süß exemplified Goebbels’ belief in the power of indirect influence.

Nazis exploited film to manipulate public opinion, alternately distracting, indoctrinating, and inflaming hatred. Whether through direct or covert means, their cinematic strategies played a critical role in the regime’s propaganda machine.