The German Genius

145–147.
37. For contemporary reactions, see Robert J. Niess, Julien Benda (Ann Arbor: University of Michigan Press, 1956), pp. 168ff.
    C HAPTER 34: N AZI A ESTHETICS : T HE “B ROWN S HIFT ”
     
1. Frederic Spotts, Hitler and the Power of Aesthetics (London: Hutchinson, 2002), pp. 11–15.
2. Ibid., pp. 152 and 156.
3. For Ernst Barlach’s prolonged fight, see Peter Paret, An Artist against the Third Reich: Ernst Barlach, 1933–1938 (Cambridge: Cambridge University Press, 2003), pp. 77–108 and 110ff.
4. For his ideas about transforming Linz by art and architecture, see Hanns Christian Löhr, Das braune Haus der Kunst: Hitler und der “Sonderauftrag Linz” Visionen, Verbrechen, Verluste (Berlin: Akademie-Verlag, 2005), pp. 1–18.
5. Peter Adam, The Arts of the Third Reich (London: Thames & Hudson, 1992), pp. 129ff., “The Visualisation of National Socialist Ideology.” See also Berthold Hinz, Art in the Third Reich , trans. by Robert and Rita Kimber (Oxford: Basil Blackwell, 1980).
6. Paret, An Artist against the Third Reich , pp. 109–138, specifically discusses “un-German art.”
7. After it closed in Munich, the degenerate art show traveled to Berlin and a number of other German cities. That exhibition was a one-off but the House of German Art show became an annual affair—until 1945. Rudolf Herz, Hoffmann & Hitler: Fotographie als Medium des Führers-Mythos (Munich: Klinkhardt & Biermann, 1994), pp. 170ff. and 260ff. An excellent study of how the Führer was presented visually.
8. Victor Klemperer, The Language of the Third Reich: A Philologist’s Notebook , trans. Martin Brady (New York: Continuum, 2000/2006), p. 63.
9. Ibid., p. 72.
10. In architecture, the Greek ideal still ruled. See Alex Scobie, Hitler’s State Architecture: The Impact of Classical Antiquity (University Park and London: Pennsylvania State University Press for the College Art Association, 1990), pp. 1ff. for Hitler and classical antiquity, 93ff. for Speer’s theory of “ruin value.”
11. Jay Baird, To Die for Germany: Heroes in the Nazi Pantheon (Bloomington and Indianapolis: University of Indiana Press, 1992), p. 161.
12. Oron J. Hale, The Captive Press in the Third Reich (Princeton, N.J.: Princeton University Press, 1964), pp. 67ff. and 76–93 for control of the press.
13. Baird, To Die for Germany , p. 132.
14. Ibid., p. 133.
15. Ibid., p. 137.
16. See also Jay W. Baird, Hitler’s War Poets: Literature and Politics in the Third Reich (Cambridge: Cambridge University Press, 2008).
17. Baird, To Die for Germany , p. 154.
18. Ibid., p. 157.
19. Ibid., p. 167.
20. Mary-Elizabeth O’Brien, Nazi Cinema as Enchantment: The Politics of Entertainment in the Third Reich (Rochester, N.Y.: Camden House, 2005), pp. 118ff. and 160ff. In regard to radio, in the winter of 1936 the German broadcasting authority announced that the main feature of future programming was to “create joy and solidify the community.” Part of this plan included broadcasts on German peasantry “along with agricultural news,” under the general title “Peasantry and Landscape.”
21. Antje Ascheid, Hitler’s Heroines: Stardom and Womanhood in Nazi Cinema (Philadelphia: Temple University Press, 2003), chapters 2, 3, and 4.
22. Baird, To Die for Germany , p. 200.
23. Ibid., pp. 186–192.
24. Karl-Heinz Schoeps, Literature and Film in the Third Reich (Rochester, N.Y.: Camden House, 2004). Very useful references.
25. Baird, To Die for Germany , p. 197.
26. For Nazi influence on film outside Germany, see Roel Vande Winkel and David Welch, eds., Cinema and the Swastika: The International Expansion of Third Reich Cinema (Basingstoke: Palgrave Macmillan, 2007), which traces Nazi influence as far afield as Brazil, Croatia, Greece, Norway, and the United States, pp. 306ff. For more discussion of German-American film relations in the 1933–1940 period, see Sabina Hake, Popular Cinema of the Third Reich (Austin: University of Texas Press, 2001), pp. 128–148.
27. Erik Levi, Music in the Third Reich (London: Macmillan, 1994), p. 71.
28. Michael H. Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (New York and Oxford: Oxford University Press, 1997), pp. 14–21.
29. Levi, Music in the Third Reich , p. 40.
30. There were in addition several works of “scholarship” aiming to show that German music had a racial element, that it was Nordic in origin, the Nordic races alone being capable of the heroic virtues as represented, for instance,