The Arts and Politics: Music, Painting, Cinema
The Arts and Politics:
Music, Painting, Cinema, Printmaking, Sculpture, Architecture
Braun, Emily. "The Faces of Modigliani: Identity Politics Under Fascism." Modigliani Beyond the Myth. Ed. Mason Klein. New York: Jewish Museum . 25-41.
ND623 .M67 A4 2004
The reception of Modigliani's works under Fascism varied from being recognized as an Italian who succeeded in France to an artist whose Nude was subjected to anti-Semitic verbal abuse at a 1937 exhibition.
Etlin, Richard A., ed. Art, Culture, and Media Under the Third Reich. Chicago: U of Chicago P, 2002.
NX550.A1 A778 2002
Under the Third Reich nearly every type of art was censored to suit the philosophy of National Socialism; music, films literature and the fine arts were subjected to appropriateness for "German culture.".
Kater, Michael H., 1937. The Twisted Muse: Musicians and their Music in the Third Reich. New York: Oxford UP, 1997.
This book discusses important musicians such as Bruno Walter, Arnold Schoenberg, Otto Klemperer and Kurt Weill. Chapter 3 is "persecuted and Exiled Jewish and Anti-Nazi Musicians.".
Kracauer, Siegfried. "Supplement: Propaganda and the Nazi War Film." From Caligari to Hitler, a Psychological History of the German Film. Princeton: NJ: Princeton UP, 1947. 273-331.
The supplement section is an analysis of German films as propaganda first written in 1942.
Krenn, Michael L. Fall-Out Shelters for the Human Spirit. Chapel Hill, NC: U of North Carolina P, 2005.
N8835 .K74 2005
After World War II, controversies arose when the U.S. sent art exhibits overseas. What is art, and was its purpose to promote the U.S., or to "heal and comfort a war-torn world?" New artists today often face similar criticisms.
Lane, Barbara Miller. Architecture and Politics in Germany, 1918-1945. Cambridge, Mass.: Harvard UP, 1968.
Architecture was the art that was most associated with German nationalism and unity. Opposition to the new architecture of the Weimar Republic was criticized by Hitler as a result of cultural decline and a lack of political and military strength.
Langa, Helen. "Radical Art: Printmaking and the Left in 1930s New York." Berkeley: U of California P, 2004.
NE538.N5 L36 2004
Chapter 5, "Horror and Outrage: Printmakers against War and Fascism" examines America's recovery from the Depression during the 1930s when the federal government provided support for the arts. Printmakers began to express their work on labor justice, anti-racism and anti-Fascism.
Lehmann-Haupt, Hellmut, 1903. Art Under a Dictatorship. New York: Oxford UP, 1954.
Written just nine years after the end of World War II, the author demonstrates how a dictator such as Hitler needs the arts, and it is a formidable alliance that the rest of us need to recognize.
Levi, Erik. Music in the Third Reich. New York: St. Martin's, 1994.
Chapter 3 concerns "Anti-Semitism." The book also examines conservative attitudes of the Weimar Republic, and surveys the regulations of music during the Third Reich, primarily in the fields of orchestral and operatic administration, radio music, music publishing, journalism and history.
Miller, Arthur. The Last Yankee: With a New Essay about Theatre Language and Broken Glass. Garden City, NY: Fireside Theatre, 1994.
PS3525.I5156 L37 1994
Broken Glass is set in New York City at the end of November, and the newspapers are reporting what is now known as Kristallnacht. Sylvia Gellburg suddenly cannot walk.
Monod, David. Settling Scores: German Music, Denazification, & the Americans, 1945-1953. Chapel Hill, NC: U. North Carolina P, 2005.
ML275.5 .M66 2005
This book provides an interesting follow up to our common book. After World War II, American forces barred any Nazi party members from the stage or concert halls. and "even anyone deemed to display an 'authoritarian personality' ." in an attempt to denazify the culture.
Paret, Peter. An Artist Against the Third Reich: Ernst Barlach, 1933-1938. New York: Cambridge UP, 2003.
N6888.B35 P37 2003
This is the account of Ernst Barlach, a sculptor, who continued to work in modern forms after Hitler came to power. He continued to protest its confiscation and destruction.
Reed, T. V. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis: U of Minnesota P, 2005. HN90 .R3 R395 2005
One of the first books to look at the cultural aspects of social movements in the United States: freedom songs, feminist poetry, Chicano murals, rock music and more.
Rentschler, Eric. The Ministry of Illusion: Nazi Cinema and its Afterlife. Cambridge, Mass.: Harvard UP, 1996.
PN1995.9.N36 R46 1996
There were over 1,000 films produced during the 12-year Nazi regime; not all were propaganda. Rentschler argues that the films of the era need to be studied from multiple perspectives.
Schulte-Sasse, Linda. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema. Durham: Duke University Press, 1996.
PN1995.9.N36 S38 1996
This study of Nazi films enlightens us about the possibilities of manipulating popular culture for political purposes.
Steinberg, Michael P., and Monica Bohm-Duchen eds., eds. Reading Charlotte Salomon. Ithaca, NY: Cornell UP, 2006.
ND1954 .S24 R43 2006
Charlotte Salomon, an assimilated Jew, produced over a thousand small gouaches and gathered almost 800 into a multi-media work, Life? or Theater? A Play with Music that was found after Charlotte had been killed in Auschwitz. This book includes some personal history and criticism of the art.
Taylor, Robert R. The Word in Stone: The Role of Architecture in the National Socialist Ideology. Berkeley: U of California P, 1974.
A study of the roots of National Socialist architecture that expressed German values based on traditional values. Taylor also examines the concept of community that ran through German culture.
Young, James Edward, ed. The Art of Memory: Holocaust Memorials in History. New York: Prestel, 1994.
FOLIO D804.3 .A82
"Remembrance as a vital human activity shapes our links to the past, and the ways we remember define us in the present " (p. 1). Photos and essays examine how memorials have been built, and how the age of transitory media affects our responses to them.