1 10 59 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/c3e59a62ffbc792e530b953a1c13afc9.jpg a3f1057932151e2a9b85e6998e38b071 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/0055bb35df18183e0aae3b4a55edaedb.jpg 3527f561e25e476bdd0dccba78591ea2 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/b4a0d123b3533b18c3663fa80172d686.jpg 3232570ab2665c4c4e08926ce61cdf74 Item with Analysis This adds an analysis field so you can add that to an item Analysis The first photograph is an image of Laura Hillman (Hannelore Wolff), reflects in the stamps that she was born in Aurich on October 16th, 1923. This image captures Laura before much of the chaos in Germany has begun and her life is turned upside down. In the picture of Laura, she has a necklace of David’s Star symbolizing her Jewish faith. The second photograph is an image is of Laura Hillman’s concentration camp record on stamped metal. This reflects her maiden name (Wolff), the year she was born (1923) and when she was deported to the camps (1942). This image says so much in its simplicity, summing up all of the violence, starvation, and atrocities that Laura faced during her time in each concentration camp into one stamped piece of metal. The final image is of the Brunnlitz concentration camp which is one that Laura stayed in. This image shows the barracks where the prisoners were forced to stay in, the barbed wire fences keeping people both from leaving and entering the camp and the smoke stacks in the distance where the ovens were. Although this image is merely a black and white aerial shot, the history held in this still image speaks volumes and the cries of the despaired can be imagined. The grainy, vintage fashion of this image makes it seem like the Holocaust took place a very long time ago, and in some ways distances most modern individuals from the event, but in reality the terrible tragedies of WWII occurred no more than 78 years ago—well below the age of many people’s elderly family members. 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 Laura Hillman Testimony Analysis Subject The topic of the resource Testimony Analysis Creator An entity primarily responsible for making the resource Alyvia Bruce Language A language of the resource English https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/cade8717c2d044246dd2b580695e7589.png fdb025d48af61bde17e7af740f6d6d18 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 Former house of the camp commandant, Amon Goth Subject The topic of the resource House of Amon Goth Description An account of the resource Former house of the camp commandant, Amon Goth Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource April 16, 1993 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/355209fa21a92c6898165558c187d602.png 0f8a8f0a733b956d319fffae46771425 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 View that Amon Goth had from his balcony Subject The topic of the resource View that Amon Goth had from his balcony Description An account of the resource View that Amon Goth had from his balcony Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource April 1, 1996 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/e995c173541803549c1fc099db362b91.png fcc0b7c590f4faead99f1e91a58c3f83 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 Steven Spielberg's set of the Plaszow camp Subject The topic of the resource Steven Spielberg's Schindler's List Description An account of the resource Steven Spielberg's set of the Plaszow camp Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource 2004 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/a46c2ca5eecf9145976d091b26884843.png 38c366d73043d6c852550cbf068692da 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 Site of Steven Spielberg's film set of Schindler's List, 1996 Subject The topic of the resource Schindler's List movie set Description An account of the resource Site of Steven Spielberg's film set of Schindler's List, 1996 Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource 1996 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/0c1715db8b9e7021c3ee3fab0d29a374.png 37bae48d752094f1168856a8eb0709ac 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 Jewish monument at Plaszow Subject The topic of the resource Jewish monument at Plaszow Description An account of the resource Jewish monument at Plaszow Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource 2004 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/71522ec7e7b0e491bb3ab6b51fbadfa4.png 5ffdb29dc58ab00b202745b2c9bf85c1 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 Monument to Poles killed by Germans at Plaszow in September 1939 Subject The topic of the resource Monument to Poles killed by Germans at Plaszow in September 1939 Description An account of the resource Monument to Poles killed by Germans at Plaszow in September 1939 Creator An entity primarily responsible for making the resource Andrew Charlesworth Source A related resource from which the described resource is derived Cultural Geographies Publisher An entity responsible for making the resource available Sage Publications Date A point or period of time associated with an event in the lifecycle of the resource 2004 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/642bf7ecb5dea3d06ed883c4db010a46.png debfb6c39e368487ec0900a4a45adb70 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 Entrance sign to Plaszow in English and Polish Subject The topic of the resource Entrance sign to Plaszow in English and Polish Description An account of the resource Entrance sign to Plaszow in English and Polish. Creator An entity primarily responsible for making the resource Danielle Drozdewski Source A related resource from which the described resource is derived Danielle Drozdewski Publisher An entity responsible for making the resource available Danielle Drozdewski Date A point or period of time associated with an event in the lifecycle of the resource 2012 https://s3.amazonaws.com/atg-prod-oaas-files/hist1049-20/original/d90696e22ae2d11ed0871737ba8684e3.png 6162edf7886489b015f65d6c97f1d2ed 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 The rear of Socialist monument with an inscription at the Plaszow memorial camp Subject The topic of the resource Socialist monument at Plaszow memorial camp Description An account of the resource Socialist monument at Plaszow memorial camp Creator An entity primarily responsible for making the resource Danielle Drozdewski Source A related resource from which the described resource is derived Danielle Drozdewski Publisher An entity responsible for making the resource available Danielle Drozdewski Date A point or period of time associated with an event in the lifecycle of the resource 2012