by Jonas E. Alexis,The Unz Review:
It is within the realm of the historical data to assert that Nazi Germany became a sort of defense mechanism—a counter-response to Jewish revolutionary activities perceived to be dangerous for Germany and much of Eastern Europe. Several Jewish scholars and historians agree on this point. Martin Bernal for example mentions that from 1920 to 1939, “Anti-Semitism intensified throughout Europe and North America following the perceived and actual centrality of Jews in the Russian Revolution.”[1]Sarah Gordon declares:
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Hitler’s hatred of the Jews was based on his belief that they fomented wars that were against the national and racial interests of the countries involved, and that Jews were the only gainers from these ‘unnatural’ wars that resulted from conspiracies of ‘international Jewry.’ To Hitler Jews were not merely ‘diverting’ other nations, but they were a positive threat to both their internal and external security…According to Hitler, the failure of nations to recognize their true interests by waging war against the Jews would result in apocalyptic consequences. As he put it, “If the Jew with his Marxist creed remains victorious over the nations of this world, then his crown will be the wreath on the grave of mankind, then this planet will once more, as millions of years ago, move through the ether devoid of human beings.”[2]
Even Lucy S. Dawidowicz would somewhat agree. Hitler, according to Dawidowicz, “had discovered that Jews dominated the liberal press in Vienna and the city’s cultural artistic life, that they were behind the Social Democratic movement—Marxism. Triumphantly he had at last found an answer to the original question he had posed about the Jew: ‘The Jew was no German.’”[3]To quote Hitler, “In my eyes the charge against Judaism became a grave one the moment I discovered the Jewish activities in the press, in art, in literature and the theatre.”[4]He later described how the Jewish elite in the theatre were corrupting the morals of the culture. He also complained that some of the materials produced in the theatre were of a pornographic nature.[5]
Theatre in Germany began to produce films such as The Cabinet of Dr. Caligari (1920), directed and written by Jewish producers Robert Wiene and Hans Janowitz. Other films of the same genre included Carl Mayer’s The Last Laugh (1924), Madchen in Uniform (1931), and Kuhle Wampe (1932).[6]Madchen in Uniform was an explicitly pro-lesbian film, something that was completely contrary to the Prussian education system at the time, and many of the cast in the movie were Jewish. Film scholar Richard W. McCormick of the University of Minnesota declares that this film “threatened the status quo” of the Weimar Republic in the 1920s.[7]McCormick continues, “Madchen in Uniform is a film that is implicated within a number of progressive and emancipatory discourses of the late Weimar Republic: the movement for homosexual rights and the flourishing of urban, queer subculture; ‘New Objectivity’ and other avant-garde tendencies in the arts and popular culture; and the intersection of modernity, the movies, and the democratic egalitarianism.”[8]
Paul Johnson tells us that films like Blue Angel were so corrupt that they “could not be shown in Paris. Stage and night club shows in Berlin were the least inhibited of any major capital. Plays, novels and even paintings touched on such themes as homosexuality, sadomasochism, transvestism and incest; and it was in Germany that Freud’s writings were most fully absorbed by the intelligentsia and penetrated the widest range of artistic expression.”[9]Many of these films were labeled “decadent” as soon as Hitler rose to power, and many of the producers fled Germany.
Madchen in Uniform became a symbol for feminist movements in the 1970s,[10]one of the weapons used against the existing culture. Actor and director Paul Wegener understood how to change the cultural landscape by changing its arts. “The real creator of the film must be the camera,” he said. “Getting the spectator to change his point of view, using special effects to double the actor on the divided screen, superimposing other images—all this, technique, form, gives the content its real meaning.”[11]Cinema was widely used as a form of subversion of the German culture, traditions, and mores. Even Eric D. Weitz declares that during that period in Germany, “Many artists, writers, directors, and composers jumped at the chance to work in the new media precisely because they signified a break with the past and provided one more way to express rejection of pre-1918 imperial Germany with its kaisers, generals, nobles, and stuffy, rigid and outmoded art academies.”[12]
Johnson writes that during the 1920s in Germany, “The area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnar and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring.”[13]Art is one of the main vehicles that would later be used to bring about what Nietzsche would call the transvaluation of all values. Films and movies were one of the largest business enterprises in 1920 Germany.[14]
Source: SGT Report
