Propagandistische Kunst oder künstlerische Propaganda?: Eine exemplarische Analyse des Veit-Harlan-Films 'Die goldene Stadt'
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Studienarbeit aus dem Jahr 2011 im Fachbereich Geschichte Deutschlands - Nationalsozialismus, Zweiter Weltkrieg, Note: 1,7, Albert-Ludwigs-Universität Freiburg, Sprache: Deutsch, Abstract: Der Untersuchungsgegenstand der vorliegenden Arbeit, der deutsche Film, erlebte während der drei iger und vierziger Jahre seine "goldene Zeit"2 als das am erfolgreichsten und publikumswirksamsten eingesetzte Massenmedium. Viele der bekannten Persönlichkeiten aus jener Schaffensperiode des Filmwesens wie Marlene Dietrich, Zara Leander oder Heinz Rühmann sind auch heute noch bekannt; ebenso werden viele Spielfilme aus jener Zeit noch immer im Fernsehen gezeigt. Heutzutage lässt ein in jener Zeit entstandener Film den Betrachter beinahe automatisch Bezug zu dem politischen Hintergrund, vor dem jene Werke entstanden, nehmen; ein scheinbar simpler Spielfilm wird sofort mit nationalsozialistischen Ideologien in Bezug gesetzt, und fast ausschlie lich hiernach wird er heutzutage auch interpretiert. Darf und kann man dieses pauschale Urteil auf alle Filme dieser Zeit anwenden? Inwiefern war die Kunst, insbesondere Filmkunst, der drei iger und frühen vierziger Jahre wirklich von NS-Ideologien und der dazugehörigen Propaganda infiltriert? Wie viel nationalsozialistisches Gedankengut kann und darf einem Film, der zu Kriegszeiten in Deutschland als Unterhaltungsfilm für ein breites Publikum in den Kinos gezeigt wurde, attestiert werden - und enthält jeder Film dieser Zeit das nationalsozialistische Potential, das die Mehrheit der Werke in sich trägt?
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