Установление нацистского режима в 1

Установление нацистского режима в 1933 стало причиной резкого упадка германского театра. Под культурным руководством главы министерства народного просвещения и пропаганды Геббельса театр, вслед за кинематографией, радиовещанием, изобразительным искусством, литературой и прессой, оказался объектом политики гляйхшалтунг. Первым шагом нацистских властей было изгнание из театральной среды всех евреев - режиссеров, директоров и актеров, многие из которых с успехом работали и в кино и в театре
Власти Третьего рейха пытались любыми способами сохранить интерес публики, привыкшей к высокому качеству театральных постановок. Геббельс назначил Ханса Йоста, драматурга средних способностей, главой Имперской театральной палаты, находившейся под контролем министерства пропаганды.
В своем театральном творчестве Йост преследовал две цели. Первая – «немец должен рождаться по крови и по сути в германизме». Вторая – «театр является последней педагогической возможностью для спасения германской нации от полного материализма исключительно реалистического мира». Йост задавал тон новой национальной драме, повторяя линию из своего «Шлагетера»: «Когда я слышу слово «культура», я, забывая о безопасности, хватаюсь за револьвер» .
Некоторые нацистские драматурги завоевали одобрение Геббельса, воплощая на сцене расовую доктрину. Однако подобным пьесам не удавалось завоевать внимание немецкой публики.

После прихода нацистов к власти немецкая кинематография, получившая до того мировое признание благодаря самобытности и таланту немецких актеров и режиссеров, стала составной частью программы гляйхшалтунг - подчинения всех сфер жизни Германии нацистской идеологии. «Я хочу использовать кино как инструмент пропаганды», - говорил Геббельс, которому Гитлер поручил контроль за кинематографией на всех стадиях - от производства до проката. Первым шагом властей было очищение производственного и творческого кинопроцесса от «расово чуждых элементов» - лиц еврейской национальности. Это стало причиной того, что многие кинодеятели Германии были вынуждены покинуть страну .
В их числе оказались режиссеры Фриц Ланг, Вильгельм Дитерле, Эрнст Лубитш, композиторы, создававшие музыку к кинофильмам, Курт Вейль, Фридрих Холландер, Ханс Эйслер, Миша Шполянски, актеры Фриц Кортнер, Конрад Вейдт, Элизабет Бергнер, Марлен Дитрих, Мади Христианс и многие другие. Актрисе Бригитте Хельм было предъявлено обвинение в «расовом загрязнении нации» на том лишь основании, что она была замужем за евреем. Популярный актер Лео Реус бежал в Вену, где, изменив свою еврейскую внешность, специализировался на «арийских» ролях. Прекрасная немецкая актриса Рената Мюллер покончила с собой, не выдержав домогательств министра пропаганды Геббельса. Вся Германия была возмущена случаем, происшедшим в 1940 с самым популярным киноактером страны Иоахимом Готтшалком. Будучи женатым на еврейке, актер отказался подчиниться требованиям властей развестись с женой и оставить ребенка. Обвинив жену актера в расовой неполноценности, гестапо дало супругам одни сутки, чтобы покинуть страну. Отказавшись эмигрировать, супруги покончили с собой. После случившегося немецкие киностудии были близки к бунту.
Нацистский контроль над кинематографией достиг своего апогея в 1934-35. 25 апреля 1935 в Берлине открылся Международный кинофестиваль, на который съехались свыше 2 тыс. делегатов из 40 стран мира. На этом фестивале прошла официальная премьера фильма «Триумф воли» (реж. Лени Рифеншталь), снятого во время партийного съезда в Нюрнберге в сентябре 1934. К 1937 немецкая киноиндустрия была фактически национализирована. В 1938 вышел еще один значительный документальный фильм – «Олимпия» (реж. Л. Рифеншталь), хроника Олимпийских игр 1936. В 1939 началась серия антисемитских фильмов: «Ротшильд в Ватерлоо» (1940), «Еврей Зюсс» (1940) и др.
В первые годы 2-й мировой войны нацистские фильмы восхваляли триумфальные подвиги солдата вермахта, в окарикатуренном виде представляя противника, как слабого, подлого и трусливого. Немецкая кинохроника ежедневно преподносила публике сообщения об одержанных победах на фронтах. С 1943 тональность фильмов начала меняться - требовалось поддержать боевой дух армии и нации. После того как в конце войны Берлинская киностудия была разрушена бомбардировками союзников, кинопроизводство переместилось на студии Амстердама, Будапешта и Рима.
За всю историю Третьего рейха (1933-45) в Германии было выпущено 1363 полнометражных фильма. Все эти фильмы, равно как и короткометражки, выпуски новостей и документальные фильмы, перед широкой демонстрацией обязательно просматривало министерство пропаганды. Большинство полнометражных фильмов было далеко не только от жизни, но и вообще от творчества. Лишь малая часть из них отбиралась для пропагандистских целей. Аудитория кинотеатров во время войны значительно сократилась.
Особым вниманием нацистских правителей пользовалось кино. В тот период этот вид искусства был не только самым по¬пулярным, но и оказывал на публику мощный гипнотический эффект. Всего за годы существования Третьего рейха на экран было выпущено 1097 художественных фильмов. И только каждый десятый фильм содержал откровенную политическую пропаганду. Остальные кинофильмы были развлекательными, историческими и приключенческими, но и в них скрыто дава¬лись мировоззренческие установки.
Поскольку к 1937 г. четыре крупнейшие кинокомпании — «УФА», «Терра», «Тобис» и «Бавария» — находились в руках государства, то Министерство пропаганды держало под конт¬р

Результаты (английский) 1:

The establishment of the Nazi regime in 1933 was the reason for the sharp decline of the German Theatre. Under the cultural authority of the head of Ministry of public enlightenment and propaganda Joseph Goebbels Theatre, followed by shooting, broadcasting, Visual Arts, literature and the press, found himself the object of policy of Gleichschaltung. The first step of the Nazi authorities was banishment from the theatrical environment all Jewish filmmakers, directors and actors, many of whom worked with success in film and theatreThe authorities of the Third Reich were trying by any means to keep the interest of the public, used to the high quality theatrical productions. Goebbels appointed Hans Jost, playwright medium abilities, the head of the Imperial House of theater under the control of the Ministry of propaganda. In his theatrical creativity Yost was two-fold. The first is "the German should be born by blood and in germanizme. The second is "theatre is the latest pedagogical opportunity for salvation of the German nation from total materialism exclusively realistic world." Jost asked tone new national drama, repeating a line from his "Šlagetera": "When I hear the word" culture "I'm forgetting about safety, grab for a revolver. Some Nazi playwrights won endorsement by Goebbels, embodying onstage racial doctrine. However, such plays have not been able to win the attention of the German public. After the Nazis came to power, the German film, which received international acclaim before thanks to identity and talent of the German actors and directors, became an integral part of the programme the Gleichschaltung-subordination of all spheres of life Germany of Nazi ideology. "I want to use cinema as propaganda tool," Goebbels said, to whom Hitler entrusted control over shooting at all stages-from production to distribution. The first step of the authorities was the purification of industrial and artistic cinema from "racially alien elements"-persons of Jewish nationality. This was the reason that many award of Germany were forced to leave the country. Among them were the directors Fritz Lang, Wilhelm Dieterle, Ernst Lubitš, composers who created music for films, Kurt Weil, Frederick Hollander, Hans Eisler, Misha Špolânski, actors Fritz Kortner, Conrad Veidt, Elisabeth Bergner, Marlene Dietrich, Madi Hristians and many others. Actress Brigitte Helm was charged with "racial pollution nation" on the grounds that she was married to a Jew. Popular actor Leo Reus fled to Vienna, where by changing its Jewish appearance, majored in "Aryan" roles. Beautiful German actress Renate Müller committed suicide, unable to endure harassment, Minister of propaganda Joseph Goebbels. All of Germany was outraged by the incident, which occurred in 1940 with the country's most popular movie actor Joachim Gottšalkom. Being married to a Jewess, the actor refused to divorce his wife demands of the authorities and leave the child. Accusing the wife of actor in racial inferiority, the Gestapo gave spouses one day to leave the country. Refusing to emigrate, they committed suicide. After the incident, German film studios were close to revolt. The Nazi control of the shooting reached its climax in 1934-35. April 25, 1935 in Berlin opened the International Film Festival, which brought together more than 2 thousand. delegates from 40 countries of the world. At this festival was held the official premiere of the film "triumph of the will" (directed by Leni Riefenstahl), filmed during the Party Congress in Nuremberg in September 1934. By 1937, the German film industry was effectively nationalized. In 1938 came another significant documentary-Olimpia (dir. l. Riefenstahl), a chronicle of the 1936 Olympic Games. In 1939 began a series of anti-Semitic films, "Rothschild in Waterloo" (1940), "Jew Suess" (1940), etc.In the early years of World War 2 Nazi movies praised triumphal exploits soldier of the Wehrmacht, in okarikaturennom the form of presenting the opponent as weak, dastardly and cowardly. German newsreel gave daily public posts about gained victories at the fronts. With the 1943 film tone began to change is needed to support the morale of the army and the nation. Once at the end of the war, the Berlin Film Studio was destroyed by Allied bombing, filmmaking moved to studios in Amsterdam, Budapest and Rome. In the history of the Third Reich (1933-45) Germany has released 1363 full-length movie. All these films as well as short films, news reports and documentaries, before a large demonstration necessarily looked the Ministry of propaganda. Most feature films was not only of life but also of creativity. Only a small part of them is taken for propaganda purposes. The audience of movie theaters during the war has been significantly reduced.Special attention of the Nazi rulers enjoyed the movie. At that time, this type of art was not only the most of pulârnym, but also provided the audience with a powerful hypnotic effect. Only during the existence of the Third Reich on the screen was released 1097 feature films. And only one in ten film contained blatant political propaganda. Other movies were entertaining, historical and adventure, but they require ideological ¬ Dawa hidden installation.Since 1937, four major film — «Ufa», «Terra», «Babe7.com and Bayern were in the hands of the State, the Ministry of propaganda has kept under Comte ¬ r

Результаты (английский) 2:

The establishment of the Nazi regime in 1933 led to a sharp decline of the German theater. Under the leadership of the head of the Ministry of Cultural Public Enlightenment and Propaganda Joseph Goebbels theater after cinematography, broadcasting, fine arts, literature and the press, have been subjected glyayhshaltung policy. The first step of the Nazi government was the expulsion of all Jews theatrical environment - producers, directors and actors, many of whom have successfully worked in the cinema and the theater
authorities of the Third Reich tried by all means to preserve the interest of the public, accustomed to high quality theatrical productions. Goebbels appointed Hans Jost, playwright average ability, the head of the Imperial Chamber Theatre, which was under the control of the Ministry of Propaganda.
In his theatrical works Yost had two objectives. The first - "German must be born in blood and in fact in Germanism." The second - "theater is the latest educational opportunity for salvation of the German nation from complete materialism exceptionally realistic world." Yost set the tone for a new national drama, repeating a line from his "Schlageter": "When I hear the word 'culture', I forget about security, reach for a gun."
Some Nazi playwrights won the approval of Goebbels, embodying onstage racial doctrine. However, these plays failed to win the attention of the German public. After the Nazis came to power, the German cinema, which received worldwide recognition before thanks to the talent and originality of German actors and directors, has become an integral part of the program glyayhshaltung - subordination of all spheres of life of the German Nazi ideology. "I want to use cinema as a propaganda tool," - said Goebbels, whom Hitler entrusted control of cinematography at all stages - from production to rental. The first step was the purification of industrial powers and creativity of cinema from the "racially alien elements" - persons of Jewish nationality. This was the reason that many filmmakers in Germany were forced to leave the country. Among them were directors Fritz Lang, William Dieterle, Ernst Lubitsh, composers created music for films, Kurt Weill, Friedrich Hollander, Hans Eisler, Misha Shpolyanskaya actors Fritz Kortner Conrad Veidt, Elisabeth Bergner, Marlene Dietrich, Madi Christiansen and many others. The actress Brigitte Helm was accused of "racial pollution of the nation" on the grounds that she was married to a Jew. The popular actor Leo Reus fled to Vienna, where he changed his Jewish appearance, he specialized in "Aryan" roles. The beautiful German actress Renate Müller committed suicide, unable to bear the harassment of Propaganda Minister Joseph Goebbels. All Germany was outraged at an incident that occurred in 1940 with the popular film actor Joachim Gottschalk country. Being married to a Jewish woman, the actor refused to comply with the requirements of the authorities to divorce his wife and leave the child. Accusing the wife of the actor in the racial inferiority, the Gestapo gave the couple one day, to leave the country. By refusing to emigrate, the couple committed suicide. After the incident, the German film studio were close to riot. The Nazi control of the film industry reached its peak in 1934-35. April 25, 1935 in Berlin, opened the International Film Festival, which brought together more than 2 thousand. Delegates from 40 countries. The festival was the official premiere of the film "Triumph of the Will" (dir. Leni Riefenstahl), filmed during a party congress in Nuremberg in September 1934. By 1937 the German film industry was effectively nationalized. In 1938 came another significant documentary - "Olympia" (dir. L. Riefenstahl), a chronicle of the Olympic Games 1936. In 1939 began a series of anti-Semitic film, "Rothschild in Waterloo" (1940), "The Jew Suess" (1940), etc. . In the early years of the 2nd World War II Nazi films praised triumphant feats Wehrmacht soldier in okarikaturennom as representing opponent as weak, vile and cowardly. German newsreel daily reports were presented by the public to win the fronts. Since 1943 began to change the tone of films - needed to maintain the morale of the army and the nation. After the end of the war in Berlin studio was destroyed by Allied bombing, film studios moved to Amsterdam, Budapest and Rome. In the history of the Third Reich (1933-45) in Germany was released 1363 full-length film. All of these films, as well as short films, news and documentaries, to the general demonstration necessarily viewed Propaganda Ministry. Most feature films was far from the only life, but also all of creation. Only a small part of them was selected for propaganda purposes. The audience of cinemas during the war greatly reduced. Special attention Nazi rulers enjoyed the movie. At that time, this kind of art was not only the po¬pulyarnym, but also provided the audience a powerful hypnotic effect. All the years of the Third Reich on the screen was released in 1097 feature films. And only every tenth film contained a blatant political propaganda. The rest of the movies were entertaining, historical and adventure, but also hidden dava¬lis worldviews. Because by 1937 the four largest film production company - "UVA", "Terra", "Tobis" and "Bayern" - were in the hands of the state, the Ministry of Propaganda kept under kont¬r

Результаты (английский) 3:

the establishment of the nazi regime in 1933 was the reason for the dramatic decline in the german theatre. under the cultural leadership of the heads of the ministry of public enlightenment and propaganda goebbels theatre, followed кинематографией,broadcasting, art, literature and media, has been subjected to a policy of гляйхшалтунг. the first step of the nazi authorities, has been out of the theater environment, all the jews - the producersdirectors and actors, many of whom has worked in film and theatre. the third reich tried any ways to maintain the interest of the public, привыкшей to high quality theatrical productions.goebbels appointed hans jost, playwright secondary abilities, the head of the imperial theatre chamber controlled the ministry of propaganda.
in its theatrical creativity yost had two objectives.the first is the "german should be born of blood and essence in германизме».the second is the "theatre is the latest educational opportunity to save the german nation full of materialism entirely realistic." jost was the tone of the new national dramarepeating a line from his "шлагетера»:" when i hear the word "culture", i, forgetting the security cling to револьвер».
some nazi playwrights won the endorsement of goebbels,come on stage racial doctrine. however, such пьесам could not win the attention of the german public.

after 1933, after the nazis came to power, the german cinema.and before the global recognition of the identity and the talent of german actors and directors, became an integral part of the programme of гляйхшалтунг - lines in all spheres of life of germany of nazi ideology."i want to use the movie as a tool of propaganda, told goebbels that hitler had control of кинематографией at all stages from production to products.the first step of purification was productive and creative кинопроцесса of "racial alien elements" - persons of jewish nationality. this was the reason