Nazi Propaganda Campaigns Both At Home And

Abroad Essay, Research Paper

Between the years of 1939 and 1945, the world experienced the most devastating war in human history. A minor conflict between Germany and an Anglo-French coalition erupted into the greatest struggle modern society has ever endured. Throughout this period, Germany produced one of the most formidable displays of political propaganda ever. The propaganda campaigns began in Germany and later influenced other countries involved in the war. Ultimately, Nazi war propaganda became so widespread and successful that it had a profound effect even on the United States, an ocean away.

Nazi Germany used the tool of propaganda during World War II on a broad and calculated basis. It was as much a part of the Nazi war machine as tanks and guns. On March 11th, 1933, the German government established the Reich Ministry of Public Enlightenment and Propaganda. Well-known German politician, Dr. Joseph Goebbels, headed the ministry. Although Hitler’s ideas for the ministry were different from those of Goebbels, both men had the same intention. Film was often the primary vehicle. Hitler wanted to exploit and advertise German films as political propaganda, “in such a way that every filmgoer will know: today I am going to see a political film.” Goebbels’ idea was to mask propaganda within mainstream films. By the end of the war, out of approximately 1,150 feature films, almost 20 percent were purely political propaganda films. Both men sought to exalt Hitler to such a degree that he would be viewed as a demigod. Goebbels work began in March 1933 when he met with his representatives for the first time. Goebbels discussed his aspirations for the Ministry. He used three films as examples to model his films from: Anna Karenina, The Rebel, and The Nibelungen. These films illustrated the “correct” way to disguise propaganda in film. There was no intent to disguise his ultimate goals, however. Just weeks before, he had banned a movie, The Testament of Dr. Mabuse, because it publicized the secret terror tactics of the Nazis. It soon became clear that the Ministry was to eliminate every right of free speech that still remained in Germany.

Goebbels knew that an excessive amount of “hidden” propaganda in film, journalism and radio would not work. This type of propaganda had to be “fed” to the public in small “doses.” Goebbels’ dream was to “allow” a “glimpse” inside the Third Reich in a National Socialist version of Battleship Potemkin. In the film, Goebbels wanted to preach life: everything good in the Third Reich. But in a letter from Sergei Eisenstein, the creator, Eisenstein attacked Goebbels for his ideas behind the film. He questioned how he could “advertise” life while he was “inflicting death and exile” on so many. He would not allow Goebbels to produce his version of the film. This event helped Goebbels consolidate power within the Ministry. Goebbels was upset by Eisenstein’s rejection of his film. He took over the department that issued the licenses that allowed filmmakers to work on films, decide whether a finished film could be released to the public, and select actors for every film. This gain in power by Goebbels was largely unknown by the public.

The new ministry also had a significant effect on the radio industry. Despite increases in power over the film industry, control over broadcasting was the most coveted sector of public communication. When Goebbels spoke at a radio exhibition in Berlin in August 1933, he quoted Napoleon, who called press the “seventh Great Power.” He then claimed that “one could alter the words of Napoleon, and call it (radio) the eighth Great Power.”

Goebbels put a special emphasis on the development of “political broadcasts.” These radio shows ranged from propagandist poems read to music to Hitler’s speeches. The first attempt to air Hitler’s speeches resulted in public criticism. Listeners complained they could not understand what their leader was saying as he was slurring his words. It took a second broadcast of the same speeches to result in positive feedback. These were the lessons Goebbels learned during the incipient stages of his office.

Perhaps the greatest achievement of Goebbels and his committee was the creation of the mass audience. In May 1933, German radio manufacturers produced the first set of inexpensive radios, the Volksempf nger. By the start of the war, 3,500,000 sets had been sold and 70 per cent of all German households owned a radio. However, the committee did now view this audience to be large enough. Soon, speakers were added into all factories across Germany. Laborers listened to poems and speeches by Hitler while working. By the start of the war, 6,000 loudspeakers had been installed into factories all over Germany. This was still viewed as insufficient. Goebbels began to broadcast Nazi propaganda to territories inhabited by Germany in the east. Although issues of foreign policy were raised, too many people were motivated by the confidence of German rulers to change anything. Propaganda had “entered” the world of radio and was efficiently operating by the start of the war.

The German government attempted to use propaganda in different ways. Firstly, they used it explicitly. When the government established the Reich Ministry of Public Enlightenment and Propaganda, their intentions immediately became obvious. There was no secret; people knew what the government was t