It's Them or Us: Killing the Jews in Nazi Propaganda1 - Bytwerk

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Nazi Symbolic Violence 28 “The New Order in Europe” (1940) it was not clear what would happen to the Jews being swept away. There was also a sudden burst of anti-‐Semitic films in the fall of 1940. In general, the Nazis avoided making films with too heavy a propaganda message. After early attempts, they realized that the public was unwilling to pay for propaganda when seeking entertainment. With strong pressure from Hitler, Joseph Goebbels ordered the production of three major films that were released in the last half of 1940 —Die Rothschilds, Jud Süß, and Der ewige Jude. 9 The latter two particularly emphasized visual violence. Jud Süß, based very loosely on historical events in the eighteenth century, was a box office success. It had the top German movie stars and the best available production facilities. As the film begins the new Duke of Württemburg needs money. Where else to get it than from the Jews — but the villain of the film, Süß Oppenheimer, will provide the cash only if the duke allows the previously-‐banned 9 See Rolf Giesen’s discussion of the films in Nazi Propaganda Films: A History and Filmography (Jefferson, NC: McFarland & Company, 2003), 118-‐142.
Nazi Symbolic Violence 29 Jews to enter Stuttgart and appoints him finance minister. The Jews immediately begin to exploit their positions. Crushing new taxes lead a desperate blacksmith to attack the coach in which Oppenheimer is riding. He persuades the duke to hang the blacksmith. Even worse, he rapes the film’s heroine. She first attempts to resist, throwing the Jew to the Jud Süß (1940) floor. He is unable even to defeat a woman. However, prepared for resistance he resorts to a perfidious method. He has the woman’s new husband tortured in an adjacent building. The bride recognizes that the agonized cries come from her husband. The only way to save her husband is to be raped by the Jew.
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It's Them or Us: Killing the Jews in Nazi Propaganda1 - Bytwerk

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