1 10 59 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/dfe6c8b3f7169b2a2dd02d03306a0152.jpg 7c08907c7eb422371ffadbc6a1b2baf2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nazi Propaganda Description An account of the resource Images for Propaganda Analysis Item with Analysis This adds an analysis field so you can add that to an item Analysis This poster was produced by the NSDAP for the November 1932 election, which would ultimately be the last fair election held by Germany until after the war. In order to best understand the underlying message the piece is conveying, first the historical context in which it was produced must be examined. The Nazi Party was, at the time, riding a wave of momentum from the summer of 1932. They had just secured their largest percentage in a German election with 37% (Lecture 6) and Franz von Papen’s grip on Germany was loosening: he was now employing a “permissive attitude” (Allen 125) with the Sturmabteilung. This progress was not, however, without setback. Franz von Papen was consolidating power in Prussia with a coup d’état on July 20 (Allen 117), and the KPD would see increased support as the fall drew on. (Lecture 6) Thus, during the November 1932 elections, the Nazi Party faced opposition from two sources— the KPD, the German Communist party, and Franz von Papen, who sought to secure a majority in the Reichstag. This instance of Nazi propaganda highlights von Papen’s weakness— he had been until this point unable to amass a significant base of support. He was, therefore, according to the NSDAP, incapable of culling the rising Bolshevik threat. The poster addresses these weaknesses directly: "Bravo, Herr von Papen! Keep up those emergency decrees, and the pension and pay cuts” Papen is here harshly criticized for tending to his own constituency— an emergency decree to seize power in Prussia, and the use of Article 48 to cut pensions and wages (Bergen 144)— instead of addressing the greater threat to Germany: the rise of Bolshevism. The function of the text, therefore, is simple— it appeals to working-class Germans, unconcerned with tax cuts nor the political sovereignty of Prussia. Von Papen is depicted as ignoring a problem that is not only festering in his own country, but he is doing so at the expense of the common man. Given his urgency to draw wider support, his portrayal as an incompetent elitist by the NSDAP clearly hindered his goal and drew popular support to Hitler. “In short, the NSDAP succeeded in being all things to all men. This was even reflected in the use of the name in advertisements, which were signed “National Soc. German Wkrs. Party,” “Nat. Socialist Germ. Workers Party,” or other variations according to the needs of the moment.” (Allen 142) The Nazis worked tirelessly to portray themselves in this light— as the party of the working man— representing Franz von Papen as hopelessly out-of-touch with the common man was simply another way to achieve this aim. In contrast with the more subdued text, the rise of Bolshevism is personified quite clearly by the looming skeleton in Red Army fatigues. This may perhaps be an homage to Marx’s line, “A specter is haunting Europe…” (Marx & Engels 1) Regardless, the figure’s menacing pose and outstretched arms imply a sense of immediacy to the Bolshevik situation. The poster is also printed entirely in shades of red, a fitting color, and furthering the message that Bolshevism is an immediate threat to Germany. Just as the NSDAP positioned itself as a party for the workers of Germany, so too did the KPD. Thus, a more forceful tactic is employed by the NSDAP for swaying working class German Voters: Bolshevism is not characterized by its policies, nor even its successes and failures in the fledgling Soviet Union. Instead, it is characterized only as both foreign and menacing. The skeleton is not wearing a German Stahlhelm, nor German army fatigues— his outfit is notedly foreign— Russian. He is dressed in military garb; almost akin to an invader. And perhaps least subtly, Bolshevism is depicted as a skeleton. These are not appeals to German logic and intellect— they are appeals to emotion. The NSDAP has equated Bolshevism with a physical manifestation of a foreign invader, someone or something that would never have Germany’s best interest at heart. In defining Bolshevism, the Nazi party often avoids specifics; instead, routinely mentioning what it is not: “[Bolshevism opposes] the Nazi goal: ‘the folkish, organic, God-fearing man.’” (Allen 90) The only remaining choice for Working Class German Voters would be the NSDAP. This is related as such by the poster, “Only one man can rescue us from Bolshevism: Adolf Hitler!” The poster also provides insight into the future of how the NSDAP would view and treat the KPD. The next election— March 1933— was held immediately after the Reichstag fire; which was attributed to Communist conspirators. The Reichstag Fire decree would further cement Hitler’s control over Germany. By November of that same year, all parties save for the NSDAP would be banned. (Lecture 7) Although propaganda always deals partially in hyperbole, there is still some truth in how the “Bolshevik threat” was viewed by the Nazis. It was certainly seen as not something to be taken lightly, and when their opportunity arose, the NSDAP quickly dispatched the KPD. Allen, William Sheridan. Thalburg: the Nazi Seizure of Power in a Single German Town, 1930 to 1935. 1962. Bergen, Doris L. War & Genocide: a Concise History of the Holocaust. University of British Columbia Crane Library, 2017. Lecture 6, History 1049, Brandon Bloch Lecture 7, History 1049, Brandon Bloch Marx, Karl, et al. The Communist Manifesto. Monthly Review Press, 1998. Gordon Goodwin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Bravo, Herr von Papen!" Description An account of the resource Anti-Bolshevik propaganda poster that depicts a skeleton wearing Red Army attire looming menacingly. "Bravo, Herr von Papen! Keep up those emergency decrees, and the pension and pay cuts. That will give us communists our last chance.’ Is that to be what happens? No! Only one man can rescue us from Bolshevism: Adolf Hitler!” Creator An entity primarily responsible for making the resource NSDAP Source A related resource from which the described resource is derived https://www.bytwerk.com/gpa/posters/papen2.jpg Publisher An entity responsible for making the resource available Calvin College, German Propaganda Archive Date A point or period of time associated with an event in the lifecycle of the resource November 1932 Rights Information about rights held in and over the resource Courtesy of the University of Minnesota Library Format The file format, physical medium, or dimensions of the resource .jpg Language A language of the resource German Type The nature or genre of the resource Nazi Propaganda https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/03055bf6d4901a5f03c2377f2e449cd9.jpg 33cfd317159edc4e3e71c0f57665ad01 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nazi Propaganda Description An account of the resource Images for Propaganda Analysis Item with Analysis This adds an analysis field so you can add that to an item Analysis This poster from the September 1930 Reichstag elections represents the heart of an ongoing propaganda campaign, one that would slowly garner the Nazi party a share in the German Federal Government of almost 20%. Hoping for a better turnout than the election prior, where they gained only 3%, and driven by a centralized and self-funding style of political messaging, Hitler and his party officials aggressively lobbied in the early 1930s for Nazi power. Increasing economic pressure across the country had painted the existing political structure as inefficient and weak. The idea of the “Freiheit und Brot” campaign (which we also saw on a 1928 poster in Lecture 5) highlights the deception that the Nazi party utilized to gain the trust of the public. Although ordinary citizens may have believed in socialism as extolled by the Nazis, distributing rights and food to the poor, what they were really supporting was a carefully constructed image of a party brutally seeking law, order, and racial purity. In understanding the dire situation in Germany around 1930, as well as the effectiveness of Nazi propaganda towards the German masses, we can see how posters like these represent how the start of the Nazi foothold was a legitimate political movement. Throughout World War I the German forces united under an immense national pride: fighting for their country and families back home was part of upholding the honor of Germany (Hitler, Passage 2). Following the end of the war and the treaty of Versailles, the soldiers came back to a country deeply lacking in morale, suffering from growing unemployment, and having lost both land and wealth. Germans across the political spectrum rejected the terms of the treaty of Versailles, even if the alternative was forced occupation. In Mein Kampf Hitler wrote how his outrage was a shared one, shared with the soldiers and the families, with the German people, saying “The young regiments had not gone to their death in Flanders crying: ‘Long live universal suffrage and the secret ballot,’ but crying: ‘Deutschland über Alles in der Welt’” meaning” Germany over all” (Hitler, Passage 2). The message that people was not one of Democracy and the Republic, but rather one of German strength, a return to the greatness of some Germany prior, driven still by the trauma and loss of the war only a few years before. Clearly then we can see how the German people were susceptible at this time to a strong wave of nationalism and populism. Unfortunately, the Nazis also came to understand this at the same time. As the introduction to the “Guidelines for Propaganda” outlines, in order for people to care about it, “It has to always speak only to the masses” and “limit itself to a few themes and repeat them incessantly” (Propaganda Archive, “Guide to Propaganda”). The public was aware that the state of politics was not improving but they were still fairly invested in democracy. Unfortunately, soon the economy would follow: first the Wall Street Crash in 1929 followed in March 1930 by the German government implementing austerity measures, and eventually the chancellor resorts to extensive use of presidential decree to implement policies. However, nothing stops the rise of inflation and unemployment, which reaches 24% in 1931 (Lecture 6). In the heart of this turmoil comes the election of 1930, and the Nazis, after years of failure by the ruling political parties as well as repeated promises for a better Germany, laid the groundwork for massive upswell of support by disillusioned citizens. This poster is one of the core tenants from that campaign: Freedom for everyone – every German, every Veteran and child –as well as food and security, brough to you by the Nazis. The success of this slogan made it a central part of the Nazi ideology. It was adopted as part of the Horst Wessel song – the NSDAP anthem and the co-national anthem of German 1933-45 – and it was repeated during speeches by Hitler and other Nazi Party leaders throughout their political campaigns during the Reichstag years (Lecture 6). The entire narrative of the Nazi party was woven to tell the story of the Nazis as the story of this poster, where the Nazi sun shines over a fertile and successful Germany, where there is plenty for all. The poster plays on many of the traditional aspects that the Nazi party was known for, in this case reflecting upon the prosperous agricultural history of the area. In many ways this deep focus on traditionalism and separation from ineffective politicking made the Nazi seems unthreatening to the establishment but appealing to the public. It’s clear that everyone underestimated what Hitler and the Nazi propaganda machine was capable of, and here is a perfect example from 1930 of why that was. Nick Sundberg Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Freedom and Bread" Subject The topic of the resource 1930 Reichstag Election Poster Creator An entity primarily responsible for making the resource NDSAP Reichstag Election Committee Source A related resource from which the described resource is derived https://www.bytwerk.com/gpa/posters1.htm Publisher An entity responsible for making the resource available Randall Bytwerk, German Propaganda Archive Date A point or period of time associated with an event in the lifecycle of the resource September 1930 Contributor An entity responsible for making contributions to the resource Courtesy of Dr. Robert D. Brooks. Format The file format, physical medium, or dimensions of the resource Digital Image [.jpg] Language A language of the resource German Type The nature or genre of the resource Poster Description An account of the resource Slogan on a political campaign poster, with a Nazi swastika representing the sun over a field of grain. The caption reads "Freiheit und Brot" ("Freedom and Bread") over the picture, while the bottom reads "Vote Nazis -- List 9" Rights Information about rights held in and over the resource Creative Commons https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/d3b4ff04ae94b69a803aa3b81e33bb69.jpg 2b071a50105e0d437e3d9e8c1692c5e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nazi Propaganda Description An account of the resource Images for Propaganda Analysis Item with Analysis This adds an analysis field so you can add that to an item Analysis This poster advertises the "Eternal Jew" exhibit held at the Deutsches Museum in Munich from November 1937 to January 1938. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Eternal Jew" Description An account of the resource Advertisement for the "Eternal Jew" exhibit at the Deutsches Museum in Munich, Nov. 1937-Jan. 1938 Source A related resource from which the described resource is derived https://www.ushmm.org/propaganda/archive/eternal-jew-exhibition/ Publisher An entity responsible for making the resource available U.S. Holocaust Memorial Museum, courtesy of Julius Goldstein Type The nature or genre of the resource Publication cover (advertising the exhibit) Creator An entity primarily responsible for making the resource Reich Chamber of Culture Date A point or period of time associated with an event in the lifecycle of the resource 1937-38 Format The file format, physical medium, or dimensions of the resource jpg Language A language of the resource German https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/8b561a60732242bc6b717a42a41002df.jpg 378d0adfd8e1acc3ded534cba2976f14 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nazi Propaganda Description An account of the resource Images for Propaganda Analysis Item with Analysis This adds an analysis field so you can add that to an item Analysis Nazi strategy for political influence hinged largely on its ability to produce compelling propaganda. The propaganda was skillfully aimed at numerous groups on the fringe of society, and was broad enough in content and message to appeal to most average german citizens. Therefore, through such alarmist intimidation tactics, “the NSDAP succeeded in being all things to all men'' (Allen, 136). During the time period between 1936 and 1938 the Nazi propaganda department, Reichspropagandaleitung, headed by Joseph Goebbels, initiated campaigns centralized around the idea of anti-Bolshevism. Facets of these campaigns included newspaper articles, books, and speeches. However, in 1937 the department established an anti-Bolshevist exhibition that would travel through the country. The accompanying pamphlet included sections bashing Marxism, Soviet Russia, and Bolshevik violence. The pamphlet even somehow managed to tie antisemetic claims into its argument around anti-Bolshevism. A subsection of the pamphlet was titled “Jewry is the Core of Bolshevism” and posited that Jews must be blamed for the Bolshevist rise to power because the Jews practiced “usury, fraud, deceit, and cowardly wretchedness” (Bytwerk). The poster advertises this exhibit, with the bottom text reading "Bolschewismus ohne Maske - vom 6. November 1937 bis 19. Dezember 1937 im Reichstagsgebäude” or in english, “Bolshevism without a mask - from November 6, 1937 to December 19, 1937 in the Reichstag building”. At first glance, anyone would be able to grasp the grisly message portrayed in the poster, whether he can read german or not. In it, a figure cloaked in Bolshevik style, hat clear with the soviet star, stands menacingly over the mangled bodies of the ‘common man’. His ghastly, inhuman face smirks triumphantly while his whip drips the blood of his victims. Behind the towering man a city burns, adding the final detail to the chaotic, apocalyptic, and unsettling scene. The message is painfully clear and along the lines of, ‘this is what will happen to innocent germans if we let communist ideas run wild’. The communist party had been suppressed since 1933, due to Hitler outlawing meetings or speech against the Nazi government and the arrests of communist leadership (Lecture 7). However, this poster highlights the common nazi practice of fear mongering and exclusion that lead to their iron hold on power. The target audience, moderate german citizens yet to convert to Nazi ideas, might find this poster compelling for several reasons. Humans are frequently selfish, usually harboring beliefs that work toward their own self interests, as such the duality between propaganda and paranoia is paramount. Propaganda is most effective in a society where fear and uncertainty germinate, but in the same way, the propaganda itself creates that atmosphere of paranoia. Should an average citizen see this poster, with its ghoulish colors and gruesome depictions, a feeling of fear or uncertainty may be evoked within him. He might think to himself that he must protect his family from the perceived threat. And what is promising to protect him from suffering the same fate as the victims in the poster? The Nazis, and Germans perceive them as “a young, energetic group pledged to rectify the situation” (Allen, 80). Fueled by the threat of other ideologies, the propaganda was usually aimed at destroying the merit of other political and societal groups. Therefore, otherwise kind people develop close minded beliefs in an act of self preservation. The color scheme is noteworthy in the way it twists the messaging. The victims are both dressed in simple white tunics, which represent the ‘innocence’ of the corpses. Red and yellow, along with the yellow satchel tied to the attacker’s waist and the previously mentioned star hat, allude to the Soviet Union’s flag. As a result, the propaganda does not target individual bolsheviks, but an entire country. The depictions in the actual scene are offensive. The figure’s teeth are bared in a grin because of the slaughter before him, and his face is purposefully designed to resemble an ape. In this way, the poster disparages Soviet Bolsheviks, as they are being represented as less than human, beasts, and uncivilized barbarians eager to cause the destruction of civilization. The dehumanization of this group parallels the Nazi ideology of aryans, or the master race, verses nonaryans, all those inferior. Minorities and ‘undesirables’ were classified as non aryans and continually attacked in propaganda, the artist commonly employing techniques to exaggerate negative stereotypes and further alienate the target group. Such strategies were frequent in the nazi regime, and the resulting ostracization made targets feel even more separated from german society than before. The culmination of the Nazis obsession with propaganda, and the ceaseless nature at which it was produced, ultimately polarized communities and slowly radicalized citizens. Nazi propaganda against the Soviet Union was interrupted for a period of a few years in August 1939, due to the signing of the Molotov–Ribbentrop Pact (or formally the Treaty of Non-Aggression) between Germany and the Soviet Union. In order to prevent a two front war, Hitler signed the treaty a few days before the invasion of Poland in the beginning of September 1939. However, the treaty was terminated less than two years after its ratification when Germany launched an attack on the Soviet Union in 1941 (United States Holocaust Memorial Museum). Afterwards, the Nazis once again started their vendetta against the bolsheviks, with another anti-Bolshevist exhibit opening in 1942. Allen, Willaim Sheridan. The Nazi Seizure of Power: The Experience of a Single German Town 1930 - 1935. Chicago, Chicago Quadrangle Books, 1965. Bytwerk, Randall. “The Great Anti-Bolshevist Exhibition (1937).” German Propaganda Archive, Calvin University, 2006, research.calvin.edu/german-propaganda-archive/anti-bolshevism.htm. Lecture 7, History 1049, Head Instructor Brandon Bloch United States Holocaust Memorial Museum. “German-Soviet Pact.” Holocaust Memorial Museum, United States Holocaust Memorial Museum, encyclopedia.ushmm.org/content/en/article/german-soviet-pact. Written by Jackie George Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “Bolshevism Without a Mask" Description An account of the resource An anti-bolshevik propaganda poster showing a monstrous figure whipping those lying at his feet while a city burns in the distance. Creator An entity primarily responsible for making the resource Agricola, Herbert Source A related resource from which the described resource is derived Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print https://www.bytwerk.com/gpa/posters2.htm Publisher An entity responsible for making the resource available Berlin : Druck H. Weidemann Date A point or period of time associated with an event in the lifecycle of the resource 1937 Rights Information about rights held in and over the resource No known restrictions on publication in the U.S. Use elsewhere may be restricted by other countries' laws. Format The file format, physical medium, or dimensions of the resource 1 print (poster) : lithograph, color ; 86 x 59 cm. Language A language of the resource German Type The nature or genre of the resource Propaganda Contributor An entity responsible for making contributions to the resource Jackie George https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/0bb39d125d4f9dd25286c367e8ffba9e.jpeg bb811482ef869d12a4fdf6a8e1621ef2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data JPEG Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “Corpses in Buchenwald after Liberation.” Subject The topic of the resource Death in Buchenwald Description An account of the resource Corpses the U.S. Army found after liberation Creator An entity primarily responsible for making the resource Vera Turner Source A related resource from which the described resource is derived USHMM Database Publisher An entity responsible for making the resource available USHMM Date A point or period of time associated with an event in the lifecycle of the resource 1945 April 11 - May 1945 Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource JPEG https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/d5a8fedc8ace80227011740699e36e2a.jpeg 313fd5601d9baa6e3d98959927452b13 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “Corpses Lie on the Ground in Buchenwald.” Subject The topic of the resource Lives lost in Buchenwald Description An account of the resource A corpse is shown at Buchenwald Creator An entity primarily responsible for making the resource Stuart A. MacKenzie Source A related resource from which the described resource is derived USHMM Database Publisher An entity responsible for making the resource available USHMM Date A point or period of time associated with an event in the lifecycle of the resource 1945 April 11 - May 1945 Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource JPEG https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/b5541318e3bff4cd3cb9336d4045be27.jpeg 63368085a263f75f11072a212b43a81d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “The Prisoners' Orchestra in Buchenwald Concentration Camp.” Subject The topic of the resource Prisoners of Buchenwald Description An account of the resource Prisoners in Buchenwald perform in an Orchestra Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived USHMM Database Publisher An entity responsible for making the resource available USHMM Date A point or period of time associated with an event in the lifecycle of the resource 1941-1945 April 11 Rights Information about rights held in and over the resource Public Domain https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/6fd916e861ed7d335bdbd5f41a50e5a2.jpg 0c937cbf94704700346f24de78f7e663 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nazi Propaganda Description An account of the resource Images for Propaganda Analysis Item with Analysis This adds an analysis field so you can add that to an item Analysis This image of Hitler and President Hindenburg standing together was published in March 1933 as propaganda for the Nazi Party leading up to the Reichstag Elections (5 March 1933). These elections occurred after Hitler had been made Chancellor of Germany in January 1933 and preceded his Enabling Act (23 March 1933) which gave Hitler dictatorial powers. The significance of this is that these elections were the last multi-party elections held in a unified Germany until 1990. Within this context, I believe this propaganda poster targeted the average German citizen in order to convince them of Hitler as the natural successor to Hindenburg as the one to lead Germany forward. One striking visual element that supports this idea is the similarity in height between Hindenburg and Hitler (albeit Hitler looks slightly shorter). In fact, it is well documented that Hindenburg was a giant of a man (he stood at some 195cm) while Hitler was of smaller stature (at some 175cm). Indeed, this was a technique also seen in the Riefenstahl propaganda film, “Triumph of the Will”, as shots of Hitler were often taken from a low angle to disguise his height [Riefenstahl, Triumph of the Will]. This alteration reflects the desire of the Nazi party to elevate Hitler to a heroic status in the eyes of German society – something which Hindenburg (as their primary First World War hero) had already achieved. Hindenburg himself had not endorsed Hitler, having defeated him in the 1932 presidential elections, and appointed him Chancellor in 1933 to satisfy the dramatic rise in power of the Nazi party (which had won a plurality in the November 1932 elections) rather than due to belief in his person. As such, the text of the source, which states that “In the deepest need Hindenburg chose Adolf Hitler for Reich Chancellor. You too should vote for list 1”, appears to be aimed at convincing the public of Hindenburg’s personal endorsement of Hitler. This suggests that Hindenburg’s stamp of approval was an important factor in swaying public opinion at the time. The phrase “deepest need” has a similar effect as, despite its ambiguity, it has the effect of creating an atmosphere of crisis within Germany at the time such that Hitler was viewed as a solution. Indeed, this idea of a ‘solution’ reflects one of the main aspects of Nazi ideology which was that they considered their movement to be a new direction for Germany after the troubles of the First World War, subsequent post-war years and the Great Depression. The background of the source subtly accentuates this message. The sky in the background is yellow to represent dawn which has connotations of this ‘dawn of a new era’ that the party tried to associate with the rise of their movement. Indeed, the sun can be seen rising over the German landscape which further reinforces this image of a glorious new departure for Germany and its people. Furthermore, the military-like salutes and Nazi flags waving in the background serves to create an association between this new direction and the military/organisation machine of the party. Finally, the temporal context of this source is particularly important when considering the purpose of its message. These Reichstag elections occurred at a time after the Nazi party had seized power in Germany (January 1933) and directly preceded the Enabling Act of 1933. The aim of the Nazi Party in the elections was to establish a political majority within the Reichstag such that they could exert complete political control over Germany. However, this was ultimately achieved by the Enabling Act rather than any legitimate electoral means which suggests a potential ulterior motive of this propaganda. Indeed, the personal emphasis on Hitler and Hindenburg is reflective of the aim of the party to cement their view of Germany that was centred on Hitler as a personality [Bloch, Lecture 5]. It might be that, under the context of the Reichstag Elections, this propaganda poster was published with the intent of creating the impression of Hindenburg handing over the reins to Hitler. The fact that Hindenburg is looking off into the distance, rather than at Hitler, as they grasp hands is indicative of this idea of him handing over control. Furthermore, the fact that this propaganda refers directly to Hitler, rather than the party, serves to reinforce the message of Hitler as the personal embodiment of Germany and the Nazi Party. By Anthony Monaco Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Poster from the March 1933 Reichstag Election Subject The topic of the resource Nazi Propaganda Description An account of the resource A poster that shows Hitler together with President Hindenburg. The text reads: "In the deepest need Hindenburg chose Adolf Hitler for Reich Chancellor. You too should vote for List 1.” Creator An entity primarily responsible for making the resource NSDAP Source A related resource from which the described resource is derived Calvin College Nazi Propaganda Archive: 1933-39 posters https://www.bytwerk.com/gpa/posters2.htm Publisher An entity responsible for making the resource available Dr. Robert D. Brooks Date A point or period of time associated with an event in the lifecycle of the resource March 1933 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/411676385cb07b1e316d448204278ac8.jpg be52db6a826534315a9b3b3a9bea3ca4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beuthen Synagogue Description An account of the resource A photograph of the Synagogue in Beuthen, Germany Creator An entity primarily responsible for making the resource Yad Vashem Archives Source A related resource from which the described resource is derived https://photos.yadvashem.org/photo-details.html?language=en&item_id=17668&ind=88 Publisher An entity responsible for making the resource available Yad Vashem Rights Information about rights held in and over the resource Yad Vashem Format The file format, physical medium, or dimensions of the resource JPEG file Type The nature or genre of the resource Photograph https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/74a8e78ab34d0bb01cd7478100bbe866.gif fe5b621417a18655ac32e31bde267cb6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bialystok Ghetto Map Creator An entity primarily responsible for making the resource USHMM Source A related resource from which the described resource is derived https://encyclopedia.ushmm.org/content/en/article/bialystok Format The file format, physical medium, or dimensions of the resource Map Type The nature or genre of the resource Map