By Rick Clifton Moore
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Additional info for Canada's challenge for change:Documentary film and video as an exercise of power through the production of cultural reality (Phd Thesis)
Details taken from Barch, R109 1/431, Akten derUfa-Film GmbH. 30. Barch, R2/4807. 31. The decree is dated 18 March 1938. It is reproduced in Wulf (1964), p. 302. See also H. Traub, Die Ufa-Lehrschau: Der Weg des Films von der Planung bis zum Vorführung (Berlin: Ufa-Buchverlag, 1941). 32. See Chapter 4. 33. See Chapter 8. 34. Barch, R2/4799. 35. See Chapter 5. 36. See Chapter 4; Spiker (1975), pp. 183–6. 37. See Chapter 8; Spiker (1975), pp. 187–9. 38. See Chapter 9. 39. Spiker (1975), pp. 190–2; Becker (1973), pp.
Entartete Kunst: das Schicksal der Avantgarde im Nazi-Deutschland (München: Hirmer Verlag, 1992), pp. 185–91. 13. The decree was issued on 27 November and is reproduced in Wulf (1964), pp. 119–20. 14. S. Tegel, Nazis and the Cinema (London: Continuum, 2007), p. 44. 15. G. ). 16. ), p. 36. 17. This goes for other cultural products too. ’ A. Ascheid, Hitler’s Heroines: Stardom and Womanhood in Nazi Cinema (Philadelphia: Temple University Press, 2003), p. 7. 18. D. ). com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-02 22 23 19.
10–18; W. Becker, Film und Herrschaft. Organisationsprinzipien und Organisationsstrukturen der nationalsozialistischen Filmpropaganda (Berlin: Verlag Volker Spiess, 1973); J. Spiker, Film und Kapital (Berlin: Verlag Volker Spiess, 1975). 4. Gleichschaltung was the term employed by the Nazis which loosely referred to the obligatory assimilation within the state of all political, economic, and cultural activities. 5. NSBO had to share DACHO with Alfred Rosenberg’s KfdK. 6. The decree is reproduced J.