By Antje Ascheid
ISBN-10: 156639984X
ISBN-13: 9781566399845
German film-goers flocked to determine musicals and melodramas through the Nazi period. even supposing the Nazis appeared to require that each element of normal existence strengthen the fascist undertaking, even the most well-liked movies depicted characters and wishes that deviated from the politically right excellent. Probing into the contradictory pictures of womanhood that surfaced in those motion pictures, Antje Ascheid exhibits how Nazi heroines negotiated the gender conflicts that faced modern ladies. The careers of Kristina Soderbaum, Lilian Harvey, and Zarah Leander communicate to the Nazis' have to deal with and comprise the "woman question," to redirect woman subjectivity and needs to self sacrifice for the typical strong (i.e., nationwide socialism). Hollywood's new girls and glamorous dames have been out; the German spouse and mom have been in. the jobs and famous person personas assigned to those actresses, notwithstanding meant to entertain the general public in a politically conformist means, element to the trouble of yoking pop culture to ideology. writer observe: Antje Ascheid is Assistant Professor within the division of Drama and Theater on the collage of Georgia.
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Extra info for Hitler's Heroines: Stardom and Womanhood in Nazi Cinema (Culture and the Moving Image)
Sample text
The viewers whom Stacey cites often describe their identification with strong female characters and disregard the frequently regressive plot resolutions, which had led earlier critics to dismiss the films. Stacey's viewers consequently avoid the conservative and patriarchal tendencies that the film narratives may contain, while selectively reading for representations of female strength and autonomy only. In shifting emphasis from textual analysis to a spectator-based form of reception studies, Stacey shows that factors above and beyond the narrative trajectories of individual films determine why certain female stars become popular with female spectators.
62 Fascist entertainment culture and beauty standards similarly adopted National Socialist specific determinations. From an early age, girls were recruited to join a series of fascist groups-such as the Jungmiidel (girls ages 10 to 15) and the Bund Deutscher Miidchen, in short BdM (girls ages 15 to 21)-that organized leisure activities and advanced National Socialist "education" above and beyond what was taught in schools. Adult women were invited to join the Deutsche Frauenwerk or the elite organization Nationalsozialistische Frauenschaft.
Ilse Werner and Lil Dagover had grown up overseas. II6 Jt seems that these actresses' exotic looks, charming accents, and worldly flair were precisely what distinguished them from the overdetermined imagery of the "German woman," which in tum enabled them to function as stars. Leander, moreover, had an androgynous appeal and her postwar gay following allows us to speculate about her appeal to homosexual audiences during the Nazi era. Although none of the stars I closely investigate in this study-S6derbaum, Harvey, or Leander-was German-born, their foreignness was not a criterion in choosing them for this work.
Hitler's Heroines: Stardom and Womanhood in Nazi Cinema (Culture and the Moving Image) by Antje Ascheid
by Ronald
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