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If the message was not overt in feature film, it was in newsreels, which from late 1938 formed a compulsory part of the cinema program, as was also later the case in occupied Europe.

During the war, it reached large numbers as cinema attendance was very high.

This genre reflected the need of a people in a specific situation at a specific period in time." [Art Abstracts] "Down These Seen Streets A Man Must Go: Siegfried Kracauer, Hollywood's Terror Films and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies. One reason for their popularity is their attempt to replace reason with subtle fantasies.

In the so-called Weimar Germany period, the cinema formed a part of popular culture.

The products of transformed national film industries contain models for a reconceptualization of community.

Such films engage in a transnational decentering in which ethnocentrism is replaced with intersubjective openness.

The Trummerfilm died out in the 1950s with the onslaught of the Cold War and the division of Germany. "History played a role in the popularity of Nazi entertainment films.

The resolutions of the resulting film narratives occur not within the filiative national community, but rather through the affiliative potential of the world community." [Art Index] "Part of a special issue on marginality and alterity in new European cinemas.

Therelationship of the Comedy Wave in 1990s German film to greater social and psychologicaltransformations in Germany is examined.

Most historians involved with Third Reich film have concerned themselves with propaganda, which is not unexpected, in view of their interest in the state and the fact that Third Reich film (of all varieties)-either overtly or covertly in numerous ways-promoted the interests of the state.

But given this interest in propaganda, the neglect of newsreels, which formed part of the Third Reich cinema program, is all the more surprising.

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