The Curse of the Wer.. - Site de Thomas - Free

FIG. 9 Comic from the Daily Worker, 1945.
THE CALL OF THE WILD
In the context of an argument that seeks to establish the pervasiveness
of discourses that connect a pathological masculinity with imagery of
the wolf, Waite’s zeal in identifying Hitler with the wolf is almost as significant
as Hitler’s obsession. Certainly, the wolf and the werewolf were
crucial images in Nazi mythology, and this was borne out by the fact
that, in its darkest hour, the Nazi military resuscitated the image of the
werewolf as a rallying point, designating the underground movement
organized by fascist loyalists at the end of the Second World War by the
term ‘Werewolf’. In a famous speech which inaugurated the Nazi radio
station Werewolf-Sender on 1 April 1945, Joseph Goebbels warned that
the werewolves would operate ‘as normal citizens by day, but meting out
death and destruction to their enemies under the cover of darkness’. 28
Further, the strong association of the werewolf with German fascism
continues to be reflected in the imagery of neo-fascist groups. 29
The Nazi celebration of lupine traits was often foregrounded in
Allied representations of the enemy, as testified by a comic of a wolf
wearing the cap of a German soldier from a 1945 edition of the British
Daily Worker (now the Morning Star) (Figure 9). The Mad Monster
(1942, USA), a werewolf film produced by a rival studio that capitalized
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