Hollywood and Hitler, 1933-1939 (Film and Culture Series), by Thomas Doherty
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Hollywood and Hitler, 1933-1939 (Film and Culture Series), by Thomas Doherty
Free PDF Ebook Hollywood and Hitler, 1933-1939 (Film and Culture Series), by Thomas Doherty
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union.
Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm?
Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
Hollywood and Hitler, 1933-1939 (Film and Culture Series), by Thomas Doherty- Amazon Sales Rank: #1711519 in Books
- Brand: Doherty, Thomas
- Published on: 2015-03-24
- Original language: English
- Number of items: 1
- Dimensions: 8.60" h x 1.20" w x 5.60" l, 1.20 pounds
- Binding: Paperback
- 448 pages
Review
With a rich blend of art and politics, Doherty brings to light the story of how Hollywood handled Nazism during Hitler's reign. Recommended.
(Library Journal (starred review))Hollywood and Hitler, 1933-1939 tracks the advance of fascism, and the movie industry's reaction on screen and in private.... [A] fascinating work.
(Kate Muir The Times (London))A lively study of Hollywood's relationship to Nazism.
(Emily Greenhouse Culture Desk blog, The New Yorker)Wide-ranging and brightly written.
(Dave Kehr The New York Times Book Review)A lively, detailed account and a worthy successor to his books Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934 and Hollywood's Censor: Joseph I. Breen and the Production Code Administration.
(Philip Kemp Times Higher Education)A remarkable and stimulating account of an important part of movie history and American history.
(Rob Hardy The Commercial Dispatch)[Doherty's] books on American cinema from the 1930s to the 1950s are essential reading: Pre-Code Hollywood and Hollywood's Censor: Joseph I. Breen & the Production Code Administration.... No one has told this story in as comprehensive or convincing a fashion. As always, Doherty's work is well researched.
(Clayton Koppes Cineaste)A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties.
(David Denby The New Yorker)[A] riveting read.
(Merve Emre The Millions)Mr. Doherty fully understands the studio system and how it juggled interference from its own internal agency, the Production Code Administration. He doesn't deny the greed and fear that motivated studios, but he puts the behavior in context.
(Jeanine Basinger Wall Street Journal)Meticulously researched and captivating.
(Noah Isenberg Times Literary Supplement)Doherty masterfully describes how the movie industry, mostly headed by Jews, ultimately came together at a time when the nation needed unity.... The book is crisply written, well documented.
(Burton Boxerman St. Louis Jewish Light)Doherty's well researched Hollywood and Hitler 1933-1939 throws fascinating new light on America and the rise of Nazism.
(Philip French The Observer)[A] wide-ranging, scrupulously researched and highly entertaining study.
(Philip French Sight and Sound)[A] judicious and comprehensive history of the period.
(Mark Horowitz Tablet)Doherty provides a more nuanced and accurate account of Hollywood's relationship with Hitler, and his book should be considered the authority on the subject.
(M. Todd Bennett American Historical Review)Hollywood and Hitler is an excellent addition to Doherty's impressive oeuvre, well worth reading for its important insights, strong narrative, and mastery of the period.
(David Welky Journal of American Studies)Doherty's book is well documented and brings together a corpus made of lesser-known, yet signifying feature films.
(Yves Laberge Journal of American Culture)Thorough and elegantly written.
(Saverio Giovacchini Journal of American History)Doherty brings fresh eyes and a witty pen to re-examine the business of US cinema production and distribution in the turbulent pre-war years.... A valuable contribution to scholarship on the subject.
(Vincent O'Donnell Media International Australia)An important contribution to the history of Hollywood's response to the Nazi efforts to censor US films targeted for export to Germany.... Highly recommended.
(Choice)Vividly written, academically unpretentious, and indispensable for historians and students of film.
(Bernard F. Dick American Studies)[Hollywood and Hitler, 1933-1939] is painstakingly researched and offers film historians, as well as historians of World War II, a rich, insightful, and engaging portrait of an industry and a world in turmoil.
(Brian Faucette Historical Journal of Film, Radio, and Television)Meticulously researched.... [Hollywood and Hitler, 1933-1939] provides an informed backdrop to scholars looking to contextualize and analyze individual films from the era.
(Rochelle Miller Film & History)A tour de force of film history, deftly weaving together many strands of Hollywood and world history to explain Hollywood's vexed and often vexing relationship to the rise of Nazism.
(Leslie Fishbein American Jewish History)Doherty offers a compelling prequel to his own Projections of War: Hollywood,American Culture,and World War II and an indispensible contribution to the emerging body of work on the relationships between Hollywood and Berlin in the 1930s.
(Hannah Graves Film Quarterly)Review
Thomas Doherty traces a powerful historical narrative as Hollywood's treatment of European fascism dramatically changes with the rise of Hitler, Mussolini, and Franco. Hollywood and Hitler, 1933–1939 marks a significant advance in our understanding of the American film industry in the 1930s and also in our appreciation of a wide range of films and filmmaking practices, revealing Hollywood as a social and geopolitical force.
(Thomas G. Schatz, author of The Genius of the System: Hollywood Filmmaking in the Studio Era and Boom and Bust: American Cinema in the 1940s)Meticulously researched and vigorously written, this comprehensive account of Hollywood, Hitler, and all points in between is both a scholarly tour de force and a riveting page-turner. Marshalling his finely-tuned expertise in American studies, film studies, and twentieth-century history, Thomas Doherty unfolds an epic chronicle of dueling ideologies, complicated celebrity politics, and the unstable boundaries between art, entertainment, and propaganda as World War II drew near. This is cultural analysis at its fascinating best.
(David Sterritt, chairman, National Society of Film Critics)About the Author
Thomas Doherty is professor of American studies at Brandeis University. His previous books include Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930–1934; Cold War, Cool Medium: Television, McCarthyism, and American Culture; and Hollywood's Censor: Joseph I. Breen and the Production Code Administration.
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Most helpful customer reviews
21 of 21 people found the following review helpful. Insightful and adds much detailed information By Maine Colonial When the Nazis came to power in Germany in 1933, they understood the importance of propaganda and the critical role of cinema in promoting the party's aims. Joseph Goebbels, as Reich Minister of Public Enlightenment and Propaganda, made it a priority to Nazify all areas of art and took a particular interest in the preeminent UFA film studio.During the six years of the Nazi Reich before the beginning of World War II in 1939, the US film industry was not quick to tackle Nazism. It's not too surprising, given the strength of isolationist feeling, but Doherty tells us exactly why there was only one Hollywood film released about the Nazis and their violent practices before 1939. (I Was a Captive of Nazi Germany, whose making Doherty describes in detail.) He details how the Production Code Administration and local censorship boards quashed nearly every attempt to tackle the subject, and how the studios themselves hesitated to rock the boat and lose the opportunity to sell their own products to German distributors.For an academic publication, this is written in an almost breezy style. Maybe that's an exaggeration, but it's certainly a very readable treatment, filled with personalities and inside-Hollywood stories. Chapters about the abortive attempt to make nice with Mussolini by getting his son involved in the picture biz, Leni Riefenstahl's disastrous publicity junket to the US to promote her film Olympia, about the 1936 Berlin Olympics, and the Hollywood Anti-Nazi League's near-whiplash when Germany and the Soviet Union signed their Non-Aggression Pact, all read as entertainingly as a gossip column.Some of the most interesting parts of the book cover the role of newsreels in covering Nazi Germany. Newsreel-only theaters in New York played to full houses and audiences didn't hold back their feelings when big-name political personalities appeared on the screen. There was even a newsreel theater on 96th Street that showed pro-Nazi reels right up until Pearl Harbor.Although isolationist feeling in the US continued even after England and France declared war on Germany in 1939, Hollywood finally went to war, beginning with films like Confessions of a Nazi Spy and The Mortal Storm. They must have hit a nerve: a Warner Bros. Warsaw executive reported, after he fled Poland with just the clothes on his back, that the Polish theater owners who booked the former film "were hanged by the Nazis from the rafters of their own theaters."This is a rewarding read for anybody interested in World War II history or the history of the film industry. Double points for those interested in both
9 of 9 people found the following review helpful. How Hollywood Only Eventually Fought the Nazi Threat By Rob Hardy Nazis have become staple villains for Hollywood, from _Casablanca_ to _Indiana Jones_ and to the counterfactual _Inglourious Basterds_. It took a long while for the movies to include them as bad guys, and this was at least partially because the moguls feared that they would lose the German market. Partly, too, it was because they thought American audiences didn't want politics injected into entertainment. The surprising story of the slow but eventual acknowledgement by Hollywood that Nazis were a menace is told in _Hollywood and Hitler 1933 - 1939_ (Columbia University Press) by Thomas Doherty who obviously loves the movies. He has written before about pre-code films and about the censorious life of Joseph Breen (who plays a big role in this book as well). He admits that "failure of nerve" by Hollywood during its "Golden Age" of the thirties was part of the general slowness of American culture to accept the Nazi threat, but the details of Hollywood's particular reluctance make for a fascinating part of movie history."During the first wave of Nazi terror," writes Doherty, "the commentary from the motion picture industry journalists and Hollywood producers reflects the natural befuddlement of cool businessmen up against hot-headed fanatics." Mild jests and veiled allusions to Hitler were cut. When Breen could do nothing, often local or state censorship did the job. The German consul in Los Angeles, Dr. Georg Gyssling. He was always interested about forthcoming movie projects, and if there was any hint of a film that might impugn the honor of Hitler or the glory of the Fatherland, he was quick to get complaints to Breen, heads of studios, or Washington politicians. The Hollywood Anti-Nazi League, mostly actors more radical than their bosses, butted heads with Gyssling frequently. They made sure that Leni Riefenstahl (whom they called "Hitler's Honey") got snubbed when she came to Hollywood in 1938 with hopes of working out a distribution deal for _Olympia_, her epic documentary of the 1936 Berlin Olympics. Doherty pays particular attention to newsreels, with "The March of Time" getting credit for denunciation of Hitler's totalitarianism. Beside "The March of Time," the other standout in making movies pay attention to the Nazi threat was the Warner Brothers studio. While other studios kept trying to make the connection pay until war was declared, Warner ceased business dealings with Germany in 1933. Jack Warner simply pulled out of Germany when the Jewish head of his studio's branch office in Berlin was viciously attacked by brownshirts. Warner had put out patriotic films and short subjects, but the studio's great stroke was _Confessions of a Nazi Spy_, released in 1939 only a few months before Europe went to war. It was the first time the word "Nazi" made it onto movie marquees and menacing Nazis were shown in a Hollywood drama. While the studio deserves credit for changing the way Hollywood got along with Nazis, it was still in the movie business and big on ballyhoo for itself. Publicity for the film called it "the picture that calls a swastika a swastika!" and patted itself on the back that "it was Warners' American duty to make it!" Gyssling tried to get Breen to share his indignation about the proposed film, but Breen had finally had enough and didn't try to placate the consul. In making the picture, Warner Brothers tried to keep portions of the script available to the actors only on a need-to-know basis, and they kept the set closed with signs that would misdirect potential saboteurs from Germany or from German-American groups.Doherty's history is a remarkable and stimulating account of an important part of movie history and American history. He has included not just how Hollywood handled Hitler but also Franco and the Spanish Civil War. His book closes with America entering the war, and after that it was pretty easy for Hollywood to decide how Nazis ought to be shown in American movies. It sure did take a while, though.
7 of 7 people found the following review helpful. Hollywood and Hitler is a detailed account of how America's filmmakers dealt with the rise of the Nazis By C. M Mills "Hollywood and Hitler's purpose is to trace the rise of German Nazism in the turbulent 1930s and how Hollywood filmmakers dealt with the Reich. During this perilous time, the film business lost revenue as the flow of American made films slowed from a rapid stream of product to a sluggish trickle. Author Doherty makes the reader aware of nefarious events in Europe affected the film industry. Among them:1. The expulsion of all Jewish personnel in the film business in Germany.2. The flight of American film companies such as MGM, RKO, Paramount, Warner Brothers, Universal and others from Germany due to the oppression of the Nazis. Hitler took office in January 1933 making things deleterious for freedom in film productionin the Reich.3. Doherty devotes a long chapter on the impact of the Spanish Civil War. The war was a brutal and bloody contest between the Republicans backed by Stalin's Soviet regime and the Loyalists led by General Franco who received men and arms from both Germany and Italy. Documentary cameramen brought the horrors of the conflict to the American screen in newsreels and feature films.4. Doherty discusses the importance of newsreels in keeping Americans abreast of European developments.5. Warner Brothers was the industry leader in promoting Americanism through their patriotic shorts and feature films. "Confessions of a Nazi Spy" was one of their best films in exposing the Nazi evil to Americans.6. Doherty examines the importance of Hollywood in providing a refuge for artists and movie stars from Nazi rule. Among the expatriate community in Los Angeles: Billy Wilder, Fritz Lang, Ernst Lubitsch, Marlene Dietrich, Conrad Veidt, Thomas Mann and many others.7. During most of the 1930's major Hollywood studios tried to avoid using Jewish characters in their movies in an attempt to continue importing films to Germany. This book is filled with information most general readers are not familiar with. It adds to our understanding of how America reacted to world events as they peered at their movie screens. Among sage quotes:"Germany was a lucrative market to cultivate and exploit..."-p. 17"The backfire from the Spanish Civil War was also cinematic. For the first time in motion picture history, the sights and sounds of mechanized warfare on European soil were captured by newsreel cameras."-p. 139"Director, athlete, actress, filmmaker, Leni Riefenstahl was the Valkyrie goddess of Third Reich cinema, the lone shimmering star in a constellation of dim hacks."-p. 293 Dr. Thomas Doherty, the book's author, is a distinguished professor at Brandeis University. I found the book to be more detailed and interesting that "Collaboration" another recent book which covers much of the same territory. The book deals with business and politics and is sober and dry reading. It is well illustrated with period photos and cartoons. A good bibliography is included. "Hollywood and Hitler" reads like a textbook and could be included in a college level course on film or America in the 1930s.4.
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