Wochenschau_Thesis_Kramarz_final

GETTYSBURG COLLEGE DEPARTMENT OF HISTORY

Die Deutsche Wochenschau: The False Reality of Film, 1943 – March, 1945.

Paul Kramarz, Class of 2012

4/20/2012

Image: Screen capture from “Die Deutsche Wochenschau Nr. 672” Vol. 11, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

Abstract: Die Deutsche Wochenschau is a Zeitgeist of Nazi Germany, though it consists only of moving images on film coupled with sound. It was deemed one of the most important delivery systems of propaganda to the German populace during the Second World War, and is an emblematic aspect of the Nazi regime. The purpose of this paper is to analyze the Wochenschau films produced from mid 1943 until the final Wochenschau film of March 22, 1945. The goal of these analyses is to determine how the Wochenschau films depicted Germany and its’ military as they both crumbled under increasing war related stresses. This paper will accomplish this by analyzing various aspects of the Wochenschau films, including elements of style, variance in message, and disjuncture with reality. The result of this close examination is noteworthy as the Wochenschau productions of this crucial part of the war are often forgotten or overlooked. By elucidating the “forgotten” newsreels, a better interpretation of not only the Wochenschau, but also propaganda and Germany’s military and civilian situation can be ascertained.

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Glossary of Terms and Acronyms

Wehrmacht: The German military of the Second World War.

Heer: The German Army.

NSV: Nationalsozialistische Volkswohlfahrt, or National Socialist People’s Welfare Group.

DRK: Deutsches Rotes Kruez, or German Red Cross.

Hitlerjugend: Hitler Youth, the Nazi youth group for boys.

BDM/Bund Deutscher Mädel: The League of German Girls, the Nazi youth group for girls.

Volkssturm: The levies of troops raised in late 1944 and early 1945, poorly trained and equipped.

DW: [Die] Deutsche Wochenschau

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Table of Contents

GLOSSARY OF TERMS AND ACRONYMS                                                                                           iii 

HISTORIOGRAPHY   1    

INTRODUCTION  11  

BOMBENANGRIFFE GEGEN DEUTSCHLAND: THE CIVIL ISSUE OF ALLIED BOMBING 

RAIDS IN DIE DEUTSCHE WOCHENSCHAU  14  

SPORTS, INDUSTRY AND CULTURE IN DIE DEUTSCHE WOCHENSCHAU  18  

KRIEGSBERICHTE DER DEUTSCHEN WOCHENSCHAU: THE REALITY OF COMBAT IMAGES  24 

 COLLAPSE IN THE WEST: COMPARISONS BETWEEN REALITY  AND FILMED REALITY ON THE WESTERN FRONT  29  

1945: UNTERGANG DEUTSCHLANDS: THE END OF THE WAR AND THE WOCHENSCHAU  32 

 CONCLUSION  35  

APPENDIX A: IMAGES  37  

APPENDIX B: DOCUMENTS FROM THE U.S. NATIONAL ARCHIVES  44  

BIBLIOGRAPHY  48 

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Historiography Die Deutsche Wochenschau, the emblematic newsreel footage of the home front and the

front lines put out by Nazi Germany throughout the Second World War is well known by some

but forgotten by many. As a primary source from this era, one would think that it would be used

more often than it has been, and as a representative piece of wartime propaganda it should have a

large presence in any study of Nazi Germany. However, this is not the case. Die Deutsche

Wochenschau has essentially been sidelined by a great majority of studies on larger, more

famous films such as Leni Riefenstahl’s Triumph des Willens, among others. Due to the omission

of the weekly newsreels from the historical record, the analyses and studies of these films have

been relegated to a few case studies where they are analyzed on a small scale. The inherent

problem with this is that there is no general historical narrative of the newsreels that can be

ascertained from these secondary sources. Beyond this, the majority of written work on the

Wochenschau films has been in German. This presents yet another problem for the historian

wishing to conduct research on the topic. As cited earlier, the largest problems with this subject

matter are the various tracks authors have taken in writing about the Wochenschau films. These

analyses are far too specific, and most are comparative essays showcasing the differences

between various weekly newsreels of the era. From these accounts, much information can be

garnered, but it does not relate to a common theme.

In an era in which newsreels have been reduced to a relic of the past, the largest use of

the Wochenschau films is not for historical research or dialogue, but rather for stock footage in

the plethora of “historical” television shows that grace various global networks. In this context,

the films lose most of their historical relevance, being reduced to only bleak depictions of life on

the front lines of World War Two. The films have entered various forums of social media as

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well, including YouTube. Though this allows for the budding amateur historian to view the films,

the greater overall narrative these films belong to is once again lost. The fate of thousands is easy

to see through the films, as are the “triumphs” of Nazi soldiers at the various fronts of the Reich,

but without proper historical discourse on the subject, it is easy to disregard the films. This is

why most who view the newsreels see them only at face value, a reference only in that the films

are primary sources of life in the 1940s. But, utilizing the films in such a manner only gives the

viewer a series of snapshots in time. Without looking at the bigger picture, the viewer has lost

the ability to see the films in the context of the films’ own history, as well as the entire history of

the war and of Nazi Germany. Therefore, through the way the newsreels are presented to the

general public, the Wochenschau programs are seen only for their exciting and interesting

footage, either in its entirety or as snippets on a television program or documentary.

The historians that have written on the topic of the Wochenschau films also routinely fail

to link them to the general narrative. This issue partially comes from the background of the

writers and historians themselves. Many are firmly entrenched in bringing forth just the history

of film and its use as propaganda, while others have used the stylistic aspects of the films to

compare them with other German as well as multinational newsreels of the time period. While

these analyses remain interesting, they do not tell some of the more pertinent stories that these

films almost directly showcase. The analyses are surprisingly centered on small topics, which

would primarily appeal to those who study film or film history, which stands in stark contrast to

what one would assume. Relatively few authors have studied the impact of the films as

propaganda, and even fewer have related how the films demonstrated changes in German

wartime economy and the increasing losses of the German army on all fronts of the war. One

other key aspect that has been overlooked by many historians in regards to the Wochenschau

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films are those that were produced after the crucial year of 1942. Though by this time all

competing newsreels had long been amalgamated into the sphere of Die deutsche Wochenschau,1

the battles that are representative of Nazi Germany’s downfall are all but omitted. In doing so,

the propaganda behind the films is often elaborated on, but how this propaganda is used despite

the grim situation facing Nazi Germany in 1943-45 is almost never elaborated on.

Of the few works that have been written directly about the Wochenschau films, many are

relatively short and do not elaborate on the history of the Wochenschau in its entirety. This

makes it exceedingly difficult to infer any information on the newsreels from the “late-war”

years. An article published in the Historical Journal of Radio, Film and Television by Kay

Hoffman is a representative example of this. Hoffman writes much about the Wochenschau and

its failures as a piece of propaganda through the filming methods used. Using technical examples

such as poor lighting and rushed production, Hoffman states that German newsreel often failed

to mesmerize its audiences. This in turn had a negative effect on the propagandistic elements the

films wished to present. Hoffman also makes clear the issue of repetition in the films. Giving

three examples of films from the early war era, Hoffman explains how the continuous use of

repeated rhetoric served only to push German audiences further and further away from the films

themselves.2 Hoffman also utilized excerpts from high-ranking Nazi officials that show this

aspect as well, and cites the final-cuts of the Wochenschau films being personally administered

by Hitler through 1943.3 It is especially interesting in Hoffman’s treatment to read how the film

about the massacre in Katyn was not shown to the German people, even at a time when it could

1 Kay Hoffman, “Propagandistic Problems of German Newsreels in World War II” Historical Journal of Film, Radio and Television, (2004) 24 (1): 133. 2 Hoffman, “Propagandistic Problems of German Newsreels in World War II,” 141. 3 Ibid.

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have been used to successfully inspire anti-Bolshevik attitudes among the German constituency.4

Hoffman does touch on several key issues, but fails to elaborate on them within the context of his

short piece. Hoffman mentions how the realism of frontline combat, especially in the period after

early 1943, was shown more as an illusion than reality. However, Goebbels is noted as stating

that he wished the opposite, as it would have possibly pushed the German people to act in a

proactive way to solve their problems. This of course stands in contrast to how the Führer wished

the films to be used, which through deceit were to only show German victories and never paint

the bleak situations that faced the Third Reich as they truly were.5 Though Hoffman brings up a

series of interesting points, he ultimately fails to give the entire picture. By focusing only on the

years between 1938-43, he does not allow himself the opportunity to discuss the late-war

German newsreel and the changes therein. Hoffman does include how Adolf Hitler made fewer

and fewer appearances onscreen, and how Hitler had less involvement with the production of

newsreels as the war dragged on. But, what relevance does this have to the films themselves, or

more importantly the films’ content and how the German public received it? Hoffman answers

some questions, but creates even more. Hoffman’s dependence on secondary sources and the

general shortness of the article also does not work in his favor, as citations from the original

documents would have been more beneficial to one who was wishing to learn more about the

Wochenschau films.

Other authors who have taken on the subject of the Wochenschau newsreels have all

fallen into similar pitfalls as Hoffman. Many continually focus on aspects of the Wochenschau

films, or only focus on the films that were produced while Germany was still a victorious power.

It is either this, or the authors only write about the Wochenschau films as just a part, a small

4 Hoffman, “Propagandistic Problems of German Newsreels in World War II,” 140. 5 Hoffman, “Propagandistic Problems of German Newsreels in World War II,” 141.

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chapter in the overall theme of Nazi propaganda. Such is the case of how the Wochenschau is

presented in the book “Der Kamera als Waffe” (The Camera as a Weapon) a compilation of

essays by editor Rainer Rother. The book is a collection of the various uses of the camera by

Nazi propagandists, especially the members of the Propagandakompanie6 units. Written in

German, the book addresses all aspects of the camera being used for wartime propaganda. The

author addresses just how close members of PK units got to the front,7 and even how

photographs were often doctored for use in magazines and periodicals such as Signal. One

example cited by the author of this key aspect is a photo of two German soldiers, one operating a

camera, next to a burning building.8 The author shows the original photo and how it appeared to

the German people, and the difference is stark and from this it is easy to gather how and why the

photo was doctored. But, as with other analyses of German wartime propaganda, the book only

includes a few chapters about the development of the Wochenschau films, and one of these

focuses completely on the use of color film by the Nazis. No problems can be found with the

scholarly writing, as it is directly cited from which Wochenschau film is being used as an

example. The arguments presented within this compilation of essays are varied, however, and

there is no true overall narrative. Two of the chapters focus on comparing Soviet and American

newsreel films to those of Nazi Germany, and from this, it is ultimately gathered that American

films are “Trivial, langweilig, oberflächlich, trocken,”9 meaning they are trivial, boring,

superficial and dry. Not much can be gathered from this in regards to how Nazi newsreels

functioned in the years between 1943 and 1945, and the same can be said for much of the book. 6 Henceforth addressed as PK units. 7 Dirk Alt, et al., “Von Charkow bis zum Don,” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky (Munich: Richard Boorberg GmbH & Co KG, 2010) 90. 8 Alexander Zöller, “Soldaten oder Journalisten?” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky (Munich: Richard Boorberg GmbH & Co KG, 2010) 175. 9 David Culbert, “Amerikanische Wochenschauen im Zweiten Weltkrieg” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky (Munich: Richard Boorberg GmbH & Co KG, 2010) 232.

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The authors continually omit these years of the war, possibly because their arguments presented

for the years 1939-42 stay true for the rest of the conflict, or possibly due to a dearth of

information regarding these years in regards to the production of deutsche Wochenschau films.

However, the authors do present arguments about the commonality and rapid presentation of the

films. This of course factors into large, overarching arguments about how Nazi propaganda

wished to be ever present and readily available. Ralf Forster states in his chapter the factors

behind the speed of production. Citing that “die Massenherstellung von rund 1.700 Kopien für

das Inland”10 among other aspects, the author expresses how efficient the production of the

Wochenschau films actually was. The author links the rapidity of the production of Wochenschau

weekly newsreels to the German progress and victory early in the war.

In a previous chapter within the same book, arguments made over the use of “stock

footage” and its continual usage liken back to the modern fate of the Wochenschau films. To the

Nazis, the author argues that it did not matter where exactly the film came from, so long as is

pertained to those films, and the entire concept the films were meant to represent. Ultimately, the

author of this chapter states that a new type of film was established in the early years of the war,

one that was clearly nationalsozialistisch and served the purpose as the nation’s primary

instrument of propaganda.11 But this argument remains only half-true when compared to other

analyses of the same subject; if the Wochenschau was to be used as the primary means of

propaganda, then why was it allowed to become “weak” and boring to many Germans? Hoffman

makes this clear in his short article on the same exact subject; Rother rather bluntly makes a

10 Trans. “The mass-production for the domestic (area) was around 1,700 copies” Ralf Forster, “Der Weg der PK-Berichte in die Deutsche Wochenschau” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky. (Munich: Richard Boorberg GmbH & Co KG, 2010) 57. 11 Rainier Rother, “Die Kriegswochenschau – Entstehung einer Form” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky. (Munich: Richard Boorberg GmbH & Co KG, 2010) 46.

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statement that conveys only the original intent of the filmmakers and propagandists, not the real

outcome of the films.

Other arguments made within “Die Kamera als Waffe” remain pertinent to the history of

die Deutsche Wochenschau. One of these arguments that would be found easily in films

produced in the 1943-45 period is that of realism and it’s portrayal within the newsreels. Though

the movies made often depicted the gritty, grim reality of life on the frontlines, they never

showed retreat or loss. There are many examples of the hell of war to be found in the films, from

charred corpses to burning villages, but these moving images and vignettes are often played

against images of peace and happiness. One example can be seen in die Deutsche Wochenschau

Nr. 699, which was produced in 1944. In this film, there are not only images of joyful Flemish

NSKK (Nationalsozialist Kraftfahr Korps, or National Socialist Motorist Corps) men being sent

off to the front on train wagons festooned with Swastikas, but towards the end, triumphant

German soldiers pressing forward, and of course the battered and burned bodies of dead Soviet

soldiers.12 This is a strong example of what the author is trying to convey about the difference

between the screened reality and the true reality at the front, which was that the films were made

to represent the ideal world, from which National-socialist ideals and concepts could easily be

showcased all the while presenting a positive image of the German war machine.13 Included in

the above argument, that of showcasing an ideal reality that pertained to National-socialist ideals

was of course the music that became a representative aspect of the films themselves. In a chapter

dedicated only to the audio-visual aesthetic of the Wochenschau films, Hans-Peter Fuhrmann

12 DIE DEUTSCHE WOCHENSCHAU, NO. 699 War Department. Military Intelligence Division. (08/26/1918 - 04/19/1947) ARC Identifier 43889 / Local Identifier 242-MID-3149. Reels 1-2. .National Archives, College Park MD. 13 Hans-Peter Fuhrmann, “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda” in Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges, ed. Rainier Rother and Judith Prokasky (Munich: Richard Boorberg GmbH & Co KG, 2010) 108.

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describes the themes of the Wochenschau films, and subsequently goes into great detail in

regards to the themes that were represented, as well as those that weren’t.

Surprisingly, the Nazis mysteriously omit one theme that one would expect to present

within the films. This is the theme of racial politics and the “Jewish Question.” A theme such as

this does not fit with the positive ideals the Wochenschau films were meant to present.14 This

fact alone is representative of the attitudes the Wochenschau films were intended to show to the

German people, and in turn gives credence to the concept that the newsreels were made only as

examples of positive propaganda, where the viewers emotions and actions in regards to the war

would be bolstered in a way so as to reinforce morale.15 This argument is easy to recognize and

difficult to debunk, but at the same time is almost general knowledge when it comes to

propaganda. If the media exists not to dehumanize the enemy, then it must exist for the sole

reason of propagating a positive mindset among the viewers. In effect this is nothing new for any

person who has rudimentary knowledge of propaganda films. But, the author of this chapter

continues with another emblematic theme of the Wochenschau films, music. Being an inherent

part of the newsreels, music and images played a larger role than narration within.16 The author

cites examples from films Nr. 536 and 540, from December 1940 and January 1941 respectively.

These films are representative of the positive, up-beat tempo used in many films to conjure a

positive, forward-moving feeling, which of course factors in with the optimistic tone of the

films.17 This too is an interesting argument, and of course factors into all Wochenschau films

produced throughout the war, but this author, like the others does not elaborate on how the

Wochenschau newsreels are evocative of changes in wartime conditions as time marched on, nor

14 Fuhrmann, “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda,” 108. 15 Fuhrmann, “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda,” 112. 16 Fuhrmann, “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda,” 111. 17 Ibid.

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does the author explain the function of narration, music, and images in films from the “late-war”

period of 1943 through 1945.

Similarly to the above, authors who have done comparative studies between German and

American newsreels from the Secord World War have come to the same conclusions, especially

in regards to the use of music and the overall idealistic and positive tone the Wochenschau took

on throughout the wartime period. Robert Herzstein, in a study of the shared characteristics and

differences between German and American newsreels cited the die Deutsche Wochenschau as

being viewed as nothing but a “fairy tale” by the German viewers, especially after the crushing

defeat of German and axis forces at Stalingrad in early 1943.18 The fact that the Nazi-run

Wochenschau GmbH continued on despite the author citing that rumor was a better source of

information for the viewers than the films themselves, one is left pondering why the films kept

being made as the war pressed on and supplies dwindled. Why would a program with such

heavy-handed idealism remain successful enough despite massive defeats and setbacks on all

fronts of the war? This question remains unaddressed by a single author in the study of the

Wochenschau series of newsreels. This gap left in the research by all the authors herein begs the

question as to why is this information has been collectively omitted.

From the general historical narrative, it is easy to gather some rudimentary knowledge

about the Deutsche Wochenschau weekly newsreels, and even their reception up to and including

1942. However, there are no large works save for a few that dedicate themselves entirely to the

study of the aforementioned subject. Many of the arguments that do exist, deal primarily with

film style, with several noting the motifs, moods, and tones used in the films. Some even

describe in thorough detail the methodology used in the polished transitions and scenes within 18 Robert Herzstein, “Crisis on the Eastern Front, 1941-42: A Comparitive Analysis of German and American Newsreel Converage.” Film & History Vol. 13 Issue 2 (1983): 38.

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the films. What exists in regards to the study of the Wochenschau newsreels is at best small in

regards to the massive amount of work done on other subjects within this same time period.

There have been many analyses done on Nazi film, including the ubiquitous Triumph des

Willens, which is screened in many German history classes in universities worldwide. The

German newsreel, apparently reduced to a “fairy tale” by the crucial years of 1943 and 1944,

garners much less recognition among the scholars of the world. Though newsreels were a

pervasive element of propaganda in the Third Reich, with a new film being released serially

every week, and with actual combat footage making up the end segments of each film, their lack

of representation is confusing. The argument the authors cited above make is that after 1942 and

the stalling of offensives on nearly all fronts, the Wochenschau films almost become irrelevant to

both the German constituency of Nazi Germany, as well as historians. But in doing so, the

previous researchers of this topic have left a large historical gap in the overall “story” of the

Secord World War and the Nazi regime.

Due to the omission of research in regards to the later war Wochenschau films, one must

view and analyze the films from these chapters of the war in order to fully understand the

background of the later-war collective German morale and mindset. Though aspects of these

films may be telling “untruths,” they still are an effective source for interpreting Nazi Germany

and its ultimate downfall. One can ascertain information from these newsreels that isn’t present

within the general historical narrative, and therefore they remain important. This stands in direct

contrast to how the films have been treated to this date, where they have been dissected for their

style and composition, so long as they were made in the early war period.

Introduction

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It is without question that the Nazi State under the leadership of Adolf Hitler corrupted

all forms of media for propagandistic use throughout 1933 to 1945. As territories were

aggrandized and annexed by the forces of Nazi Germany, the sovereign newspapers and other

forms of media were also taken under direct control. Censorship and pushing National Socialist

political goals were two representative aspects of this aggressive expansion that culminated with

Nazi manufactured films made for international distribution among the conquered territories.19

As this era of human history is considered the golden age of film, it is of no surprise that the

Nazis used film extensively within Großdeutschland, or Greater Germany, and the territories

acquired throughout the course of the war. Of these films, some have become representative of

the Nazi state and its propaganda, whereas others have been ultimately forgotten in their overall

importance. Die Deutsche Wochenschau20 is one of these pieces.

Of the films produced for the DW weekly newsreels, most follow a standard story arc,

which usually ends with images of victorious German soldiers pushing the front forward. In

films produced in 1943 through 1945, a pervasive dichotomy began to appear in the DW films.

This aspect was that by this point in the war, the German army was being pushed back on all

fronts, and had already suffered tremendous casualties. The Wehrmacht of 1943, though larger

and more mechanized than the same army that invaded Poland in 1939, was faced with ever

increasing odds of defeat. This fact never changed throughout the final years of the war, as even

in 1945 the DW continued to show the men of the Wehrmacht fighting on and driving back

repeated assaults by allied forces. The DW also portrayed life on the home front as an idyllic

19 Roel van de Winkel, “Nazi Newsreels in Europe, 1939–1945: the many faces of Ufa’s foreign weekly newsreel (Auslandstonwoche) versus German’s weekly newsreel (Deutsche Wochenschau)” Historical Journal of Film, Radio and Television Vol. 24, No. 1 (2004): 7. 20 Die Deutsche Wochenschau shall be written as DW henceforth, or referenced as Wochenschau.

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representation of wartime Germany, though at times the reality of the grim situation Germany

faced during this period of the war breaks through the charade. The two elements presented

above are common tropes of the DW, and make up distinct sections within the DW. With these

two aspects, a third part is inherent to many DW presented to the German public throughout the

history of the Wochenschau newsreels of the second world war, and that is the presentation of

national-level news with high ranking Nazi officials and decorated war veterans making

countless appearances. These people could range from Adolf Hitler himself, to one of many

Ritterkreuzträger21, or the men who won the Third Reich’s highest military decoration, best

equated to the Medal of Honor. Another key feature of the DW is the omnipresent voice that

narrates the story, which when coupled with dramatic images and rousing instrumental pieces,

gives a certain character and style to the films that sets them apart from other contemporary

newsreels. The voice was that of Harry Giese,22 noted as being: “Der Sprecher, dessen Stimme in

allen deutschen Lichtspieltheatern zur Wochenschau ertönt.”23 Beyond these stylistic elements

that defined the DW, the moving images captured on film can tell much more about the status of

the war, enrich the story for all who view. These films come naturally with a strong caveat, that

what they depict does not always reflect the reality of the situation facing Germany. Within this

element of the Wochenschau films, there is still much that can be ascertained. Though it is

common knowledge that the films did not show the full truth, the edited and condensed footage

does remain a key source for understanding the final years of the Third Reich. As representations

of propagandized footage, the films also reflect central points of the Nazi regime. To look

beyond the most salient and borderline obvious style and content related fundamentals, the films

21 Holder/Wearer of the Knight’s Cross. The Knight’s Cross of the Iron Cross was Nazi Germany’s highest military decoration. It came in several grades, with the highest being the cross with diamonds, oak leaves, and swords. 22 Fuhrmann, “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda,” 110. 23 Trans. The Speaker, whose voice rings out the Wochenschau in every German theater. (Original title of Photo 1, in Appendix A.)

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also project the reality of Germany’s wartime situation. The content of the films expresses this,

for every time German soldiers are shown running past the corpse of a dead Soviet soldier, the

truth of the matter remains. The DW films clearly show how the Nazi state was crumbling

through their attempts at creating a false reality, the action alone being significant of a dying

power. Along with this, the Wochenschau films illuminate the desperate struggle of the German

military on all fronts, which though depicted as “victories in defensive battles,” tells the darker

story of a never-ending retreat culminating in the complete and utter destruction of Germany.

This is the only determination one can come to when the films are compared with period

documentation of conditions at the front, along with a careful analysis of the films themselves.

Die Deutsche Wochenschau began life as an instrument of the Nazi regime, and through

1945 it remained as such. It was effectively stated that what the DW contained would primarily

exist for Volksaufklärung24 and propaganda.25 With such a clear purpose, it is easy to dismiss the

DW as pure propaganda with no other use besides the indoctrination of a people. This statement

is somewhat in line with the historical record, as some who lived during this era credited the DW

as a primary influence on their lives.26 Ultimately, the Wochenschau films do tell more than just

the effects of propaganda on a populace or the commonality of propaganda within a dictatorship,

they give a visual depiction of the war that through analysis can yield much more information

than the moving images themselves.

24 Trans. Public enlightenment. 25 Ulrike Bartels, Die Wochenschau im Dritten Reich (Frankfurt: Peter Lang, 2004) 186. 26 Omer Bartov, Hitler’s Army Soldiers, Nazis and War in the Third Reich (New York: Oxford University Press, 1992) 110.

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Bombenangriffe gegen Deutschland: The Civil Issue of Allied Bombing Raids in Die Deutsche Wochenschau

Wollt ihr den Totalen Krieg? This brief except from a speech delivered by Reich Minister

of Propaganda Dr. Joseph Goebbels sets the tone for the years of the Wochenschau that are so

often forgotten within the historical narrative in regards to Nazi Propaganda. The speech was

given on February 18, 1943 at the Berliner Sportpalast to a large crowd of German citizens and

lasted over one hundred minutes.27 The essence of the speech was the delivery of the question

cited at the beginning of this paragraph, “do you [the collective German Volk] want total war?”

News had just come in about the crushing defeat at the battle of Stalingrad, and with it came a

change reflected in the DW films of 1943. Realizing the change in the course of the war,

Goebbels ordered a change in the presentation and compilation of the DW films.28 Coinciding

with the aforementioned military disasters of 1942-1943, the DW films accounts and

commentary on military matters were drastically reduced. These were replaced with “civil”

subjects, which were under the censorship of not only the RMVP, but also Goebbels’ personal

edits.29 From this action the importance of civil matters within the mid to late war DW films

becomes evident, which is why in 1943 and 1944, the percentage of footage and news in relation

to the military was reduced from 56% of footage in 1942 to 46% and 38% in 1943 and 1944.30

This act on part of Goebbels shows a maturing and changing Wochenschau that reflected the

conditions Germany was facing at the time. The loss of the Sixth Army at Stalingrad was too

much for Germany to continue on as it had been, which in turn set the tone for a shift to a “total

war” attitude and a shift in the DW’s presentation. The ramifications of a switch in war attitude 27 Joseph Goebbels, “Nation Rise Up and Let the Storm Break Loose” trans. Randall Bytwerk, German Propaganda Archive. http://www.calvin.edu/academic/cas/gpa/goeb36.htm (accessed March 28, 2012). 28 Bartels, Die Wochenschau im Dritten Reich, 500. 29 Ibid. 30 Bartels, Die Wochenschau im Dritten Reich, 424-427.

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are evident in the changes made to the DW, as in many of the films the focus is on elements

made to spur on the home front without using the tired trope of military conquest. Essentially,

the modified reports of the DW, the subject matter and stories contained therein all are

representative aspects of Germany’s worsening condition through slight modification to the DW

program. This aspect would be lost to history if the DW were taken at face value.

With the above established as fact, it is best to then analyze the shift towards civil matters

that took place in the 1943 and 1944 DW films. With the trend shift as stated, what exactly was

presented and how did it show Germany’s ever-bleaker situation? One aspect begins with the

production of the DW films themselves. It is common knowledge that by 1943 the United States

and Britain had engaged in strategic bombings of Germany territories in hopes to both knock out

German manufacturing capability and instill terror in the German civilian population. These

Bombenangriffe also affected the DW, as in November 1943 the facility where the DW was

edited and compiled was bombed.31 As a temporary measure it moved into the basement of the

Ufa studio, where it remained until 1944.32 From this, the bleak reality facing German citizens

during this part of the war can be easily understood as when the places producing propaganda

were being bombed, nothing else was defensible. German soldiers on the front line describe the

terror bombing as well, such as the report of Hauptfeldwebel (Company First Sergeant)

Whittendorf. He writes:

Wenn ich zuhause [Kiel] war, ist ein Torpedo runtergekommen. Vier Haüser vollkommen kapputt. Alle Leute, in der Nähe waren, tot. Bis auf 60 meter davon entfernt, alle Türen, Fenster kapputt. Leute im Parterre gegen die Wand geschlagen und verletzt. Frauen im Bunker wurden Hysterisch. Die Leute werden jetzt alle so apathisch.33 31 Bartels, Die Wochenschau im Dritten Reich, 258. (Torpedo refers to a large bomb, not to the naval weapon.) 32 Ibid. 33 “Effects of Allied Bombing” FID—DZ, DQR 21. Textual Records from the War Department. Military Intelligence Service, Intelligence Group. Captured Personnel and Materiel Branch. (06/1944-1946) Archives II Reference Section (Military), Record Group 498. Textual Archives Services Division, College Park, MD. See Appendix B, first document.

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The words of Hauptfeldwebel Whittendorf belie the efforts of the German government to keep

the homeland safe from enemy bomb attack, and show that the German population of this time

was growing increasingly war-weary. Though the interview with Hpt.Fw. Whittendorf was

conducted on 1. August 1944, the information remains pertinent to the same era of the war, as

Whittendorf was recalling a previous home leave.34 With this information, it is clear that the DW

films would attempt to show home life as something more serene than reality. Through reports

that strengthened resolve with positive images, the editors and photographers of the DW worked

to create a false reality, but at the same time acknowledged the terrors of war. This aspect runs

contrary to the DW being strictly used to disseminate false propaganda. One example of this was

the “sending children to the countryside” program in DW Nr. 668 from June 23, 1943.35 This

program is described as sending children to the countryside to avoid being killed in the bombing

raids on the cities. In the film, this is depicted as a happy sendoff on Swastika-adorned ships and

other means of transport.36 In the same DW film, Goebbels is shown giving a speech to the

people of Dortmund, which had been stated as under intense hardship due to bomb raids.37 Bomb

raids against the civilian populace, and more importantly culturally significant structures are also

included in these civil issues. This was done to galvanize and strengthen the resolve of the

German populace that was facing Terrorangriffe.38 DW Nr. 670 makes this aspect quite obvious,

where the British fliers are referred to as terrorists, destroying civilian targets and pieces of art.39

34 Ibid. 35 “Die Deutsche Wochenschau Nr. 668.” Vol. 11, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 36 Ibid. 37 Ibid. 38 Trans. Terror attacks. 39 “Die Deutsche Wochenschau Nr. 670.” Vol. 11, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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The damage to the Kölner Dom shown in the film40 was meant to incite feelings of resentment

against the Allies, who were depicted as purposefully targeting civilians and towns without

military importance. In the preceding Wochenschau film, (DW 669, June 30, 1943) the same

theme is present. Though this time it is meshed with footage of anti-aircraft operations, the film

segues into a segment focusing on the population of Düsseldorf. The NSV and DRK are shown

operating field kitchens and cited as giving “nourishing and tasty” food to the local populace.41

Children and women are shown eating the meals, 50,000 of which are referenced as being

produced daily.42 This section makes the plight of the German citizenry obvious to the viewer,

but intensifies belief in the help that the National Socialist regime could dole out in aid. Fresh

produce and 10,000 loaves of bread that are täglich geschnitten, or cut daily, are also shown as a

positive image. These scenes obviously do not hide Germany’s worsening position in regards to

bomb raids, and instead push the ideals of Germans helping Germans within the Reich. The

theme reappears constantly through other DW newsreels, being a predominant part of DW 679

from August 1943. In this reel, the benevolent Nazi government is shown giving aid to the

people by means of food and water, as well as transporting women and children out of the cities,

which had already been spoken of in DW 668.43 It is worthwhile to note how the importance of

counteracting the terror of the air raids in one particular Wochenschau, from 22. September

1943. The first four minutes of the production are essentially a public service announcement, in

which a fire from a bombing raid is re-enacted on screen. The civilians act rather calm and

40 “Die Deutsche Wochenschau Nr. 670.” See image, Appendix A. 41 “Die Deutsche Wochenschau Nr. 669.” Vol. 11, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 42 Ibid. 43 “Die Deutsche Wochenschau Nr. 679.” Vol. 11, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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nonchalant despite the implied terror.44 This reaction to the bleak reality of being bombarded

from the sky once again shows the acknowledgement of poor wartime conditions, but removed

the fear and gloom with an uplifting tone and final words of the section, “helft alle mit!”45 an

implication for everybody to help all with (the tasks of combating the effects of bombing raids.)

It is clear that the theme of allied bombing of German cities and towns remains constant

throughout the DW films produced during this era, though it doesn’t appear in every single

episode. From this, it can be determined that they represented not only a pertinent military

aspect, but also a civil one because the people shown being directly affected by the allied

bombing raids were civilians. Through showing the ramifications of the bombing, with scenes of

fires and destruction, the editors and directors of the DW created a situation where they could

play positive, uplifting images against the others to create a dichotomy of meaning. The self-

realization of the war and its’ associated terrors coupled with a message of hope are symbolic of

the war taking it’s toll on the German populace. The depiction of the bombing campaign shows

idealized vignettes of Germans, but it nonetheless shows the worsening of conditions on the

home front.

Sports, Industry and Culture in Die Deutsche Wochenschau

There are many more civil related news stories presented in the DW films that worked in

a similar way to the reportage on the allied bombings. All of these stories show clearly the

worsening of Germany’s ability to defend itself, but use positive imagery to depict things as

returning to normal as quickly as possible. The stories also depict German citizens, as well as

44 “Die Deutsche Wochenschau Nr. 681.” Vol. 11, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 45 “Die Deutsche Wochenschau Nr. 681.”

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those of occupied territories functioning in idealized situations that serve to better the morale of

the Germans in the Heimat, or homeland. Many of these civil subjects outside of the allied

bombing campaign directed against German cities include sports, political discourse and action

among high-ranking Reich officials and dignitaries, music and cultural stories, and aspects

related to agriculture and war economy.46 Oftentimes these subjects will accompany one another

in a complementary fashion, so as to emphasize the civil stories Goebbels cited as being

important so as to counter the constant military defeats and never ending retreat of the broken

Wehrmacht. One of the DW newsreels typifies this notion, DW 698 of January 20, 1944. An

Opera acts as the opening segment in this newsreel, and was recorded with live sound.47 This

section is representative of many other culturally related stories presented in the DW that existed

to give the German populace a sense of normalcy during the stresses of war. One does not need

to delve deep to understand the basis of these stresses, as it is common knowledge that Germany

in 1944 was facing an increase in rationing and an overall degradation in regards to the quality of

life for its’ citizenry. In the same DW program noted above, the scenes transition to those of a

large sporting event, a hockey game between Rittersee and Vienna at the Olympic Hockey

Stadium in Garmisch-Partenkirchen.48 The fact that the German Ice Hockey Championship was

still being held in early 1944 speaks volumes about the level of deception put out by the Nazi

regime. At a time when the German army was being pushed back on all fronts, sporting events

were still being held at home. Of course, this factors into the importance of sports integrated into

the Nazi ethos, demonstrated by the Hitlerjugend summer sports games in DW 679 (September

46 Bartels, Die Wochenschau im Dritten Reich, 424-427. 47 “Die Deutsche Wochenschau Nr. 698.” Vol. 12, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 48 “Die Deutsche Wochenschau Nr. 698.”

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8, 1943) among others.49 As DW 698 continues, the scene dissolves into that of a circus, with

acrobats performing “schwere artistischen Arbeit,”50 or tough acrobatic work. The crowd

includes a mixture of uniformed German soldiers, as well as a plethora of civilians enjoying

simple entertainment as a means of forgetting the wartime economy and related conditions that

existed all around them.51 This type of presentation fits in with noted historian Klaus Fischer’s

interpretation of the Wochenschau in that the films existed as escapist entertainment; to Fischer,

the DW was an example of propaganda without being too much propaganda. Goebbels, who

stated that too much propaganda could have an inverse, negative effect, purposefully enacted this

tenet of style.52

There exist a plethora of other examples where sports and cultural elements are

presented, though one in particular manages to meld both a depiction of wartime production and

economy with an inspiring concert performed in a munitions factory.53 This blended scene

depicts a serene environment that was in complete contradiction of the state that factory workers

faced in this era. It does not depict the rushed production, or the air raids that destroyed factories.

The fantastic depiction of people sitting around completed tank hulls and other munitions

demonstrates the connection between the war and escapist entertainment. The escapism allows

for the war to take a positive light in the eyes of the viewer. Toiling in a munitions factory

becomes separated from the grease and heat of heavy machinery, and instead linked to a tranquil,

composed vignette away from the war. Once again through careful editing and presentation the

importance of the war are shown in the Wochenschau, but the civil issue dealing with production

49 “Die Deutsche Wochenschau Nr. 679.” 50 “Die Deutsche Wochenschau Nr. 698.” 51 Ibid. 52 Klaus P. Fischer, Nazi Germany (New York: The Continuum International Publishing Group, 1995) 372. 53 “Die Deutsche Wochenschau Nr. 688.” Vol. 12, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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of war related goods is spun in a positive light. This scene is representative of escapism from the

war and Goebbels’ directive of not pushing bad propaganda or overt propaganda.

As the war drew to its’ final months in early 1945, the same theme of wartime economy

and industry remained among the civil stories the DW incorporated into newsreels. The pressing

of the German economy both by wartime measures and the allied action is easily seen in DW

748, from January 1945. Once again, peaceful music sets the tone, as a new “economy” model of

a Reichsbahn passenger car is unveiled to the public through the DW newsreel. The car, shown

as being made primarily of wood, is Spartan in every possible way.54 The crudeness and

simplicity of the car is a reflection of the measures Germany had to take during wartime, and as

with other tropes presented in the DW it acts in a way so as to placate the suffering German

populace.55 The need of the German wartime economy for materials and basic items is made

obvious in the same Wochenschau, as the following segment is for the Volksopfer 1945, a

movement where the already hard-pressed people of Germany are shown giving up goods such

as shoes and old clothes to the military for future use.56 The DW reel even makes a bleak

statement about the state of the German people at the time, indicating that at that juncture in

time, everything not needed for survival was needed for the war effort.57 Young children, clothed

in the uniforms of the Hitlerjugend and Bund Deutscher Mädel are shown smiling handing over

old boots and clothing to people waiting at a collection depot. The music, as with other scenes

depicting wartime hardship on the home front, is joyous and upbeat despite the bleak reality

facing those in the scene.58 It was more than obvious that Germany was near its own downfall,

54 See photo, Appendix A. 55 “Die Deutsche Wochenschau Nr. 748.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 56 Ibid. 57 “Die Deutsche Wochenschau Nr. 748.” 58 Ibid.

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but the people in the film are depicted as gleefully aiding the war effort. Certainly this segment is

representative of the late war German condition, in that it acknowledges the problems of fighting

a losing war, recognizes Germany’s losing position, and yet people are shown persevering and

dealing with the situation. Therefore it must be stated the DW films give the viewer further

insight into the war, as though they project idealized portraits, under the façade is the reality. In

the same vein as the above, the DW blurs the disconnection between reality and idealized life, as

it did not wish to become to propagandistic. Instead, what is presented does indeed show

elements of reality, though not overt suffering and terror.

In contrast to civil scenes with even minute connections to the war effort, there also

existed situations that had little to no relation to the war whatsoever in the DW. Many of these

scenes depict the simple life of farmers in the hinterlands of Germany. Much of this has to do

with the Agrarpolitik or agrarian politics of the Nazi state. The reasoning behind this was that the

simple farmer (Bauer) already held an important position within Nazi ideology and doctrine.

Such use of the Bauer is seen within Nazi rhetoric predating the Machtergreifung,59 so it is of no

surprise that it made an appearance within the DW as well.60 In fact, the theme of Agrarpolitik is

shown in several of the DW films, even when the farmers are not “German” but of “Germanic”

descent or relation. Such is the case of DW 674, in which Flemish peoples as well as “Germanic”

settlers of the Warthegau are shown as happy farmers aiding the economy of the Reich with food

productuon.61 The connection with the Warthegau, an area in occupied Poland, links this film

with one of the major tenets of Nazi ideology as well, the concept of Lebensraum. The

“Germanic” peoples shown in Poland are settlers from other Germanic territories, which is in

59 Trans. The sieze of power (by Hitler and the Nazis in 1933) 60 Bartels, Die Wochenschau im Dritten Reich, 307. 61 “Die Deutsche Wochenschau Nr. 674.” Vol. 11, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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accordance with the concept of Lebensraum. The men and women depicted in these scenes are

part of a plan to Germanize this area of Poland, so as to fulfill the Nazi dream. The

aforementioned scene does not even compare with the highly idealized depiction of farmers in

southern Germany’s Alps in a subsequent DW film. The farmers in DW 688 from November,

1943 are typical of another trademark of Nazi and German ideology, as they are incorporated

into the subject of Heumaht in den Bayerischen Alpen. The countryside ideal seen with these

farmers is a notion that is seen in German ideology, that of the bound connection between

Mensch und Natur. The traditional garb seen being worn by the farmers in the film62 only plays

into the Nazi ideal, which is coupled with the use of cliché and romanticized aspects that serve

only to further and strengthen belief in Nazi family and farming ideology.63

If the idealized farmer, with his inherent connection to nature is considered an important

part of the German and National-Socialist culture of the Nazi era, then other important cultural

aspects must have been shown in similar form. Art, having been shown destroyed in segments

dealing with the bombing raids, makes up a large part of several Wochenschau productions. The

newsreel where this aspect is salient element is DW 669 from June 1943.64 In the segment on the

subject of art, the narrator states: “Trotz der Stürme des Krieges, kann die Kunst in diesem

gigantischen Schicksalskampf ihre Aufgabe dienen.”65 In essence, the narrator made a bold

statement about the arts, in that despite the storms of war, the arts can still serve their purpose in

the gigantic battle for destiny. The word Schicksalskampf, combined with the works of art

presented in this segment both speak volumes about the German mindset and situation at this

crucial part of the war. This is because the exhibited works include paintings tragically depicting

62 “Die Deutsche Wochenschau Nr. 688.” 63 Bartels, Die Wochenschau im Dritten Reich 311. 64 “Die Deutsche Wochenschau Nr. 669.” 65 “Die Deutsche Wochenschau Nr. 669.”

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life at the front, such as Erinnerung von Stalingrad by the painter Franz Eichhorst.66 The

painting, as seen in the film, shows wounded and dirty men of the Wehrmacht clutching each

other and fighting on while surrounded by the corpses of their fallen comrades. This picture

follows a theme of a bleak reality in which the German soldier is shown as fighting the great war

of destiny against a numerically superior foe. Of course, this image was juxtaposed with idyllic

scenes of Germany by other painters earlier in the segment,67 which once again created a

dichotomy between idealized life and the reality of war. Though a positive segment aimed at a

civilian audience, the DW shows the realities Germany faced without explicitly stating them.

Nor does the DW skirt around the issue entirely by broadcasting a segment of pure propaganda.

The civil issues and segments shown in the DW had clear purpose as propaganda, but

also told legitimate stories at the same time. They described the plight of the German citizen, but

often in roundabout ways. Despite showing primarily positive images that reinforced belief in the

Nazi regime, the photographers and editors of the DW also used images depicting the terror and

problems that come with war to the civilians. The preceding elements all show Germany’s

situation becoming increasingly dire, which stands in contrast to the interpretation of the

Wochenschau creating a depiction of an idyllic scenario.

Kriegsberichte der Deutschen Wochenschau The Reality of Combat Images

As depicted on film, the German Army of 1943 through 1945 was still a formidable

opponent for the numerically superior allied forced it fought against in these closing years of the

war. Even after the crushing defeats of 1942-1943, the German military switched to a primarily

66 “Die Deutsche Wochenschau Nr. 669.” Image of Painting in Appendix A. 67 Ibid.

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defensive strategy where it was able to hold out for two more years of the most intense fighting

the world had ever seen.68 The DW newsreels presented the military side of the conflict to the

people of Germany, showing the grim reality of frontline combat to all who wished to see it. The

footage presented was not censored from the gore of war, with Soviet casualties often being

presented to the viewer. At times, even German casualties are seen, though they are usually

shown only as wounded or in a hospital. Other themes that are present within the actual combat

footage of the Wochenschau serials include the concept of the primary group, as described by

noted historian Omer Bartov.69 Beyond this, the DW also included scathing reports of enemy

action, and critiques of the enemy’s discipline.70 71 But the overall theme of military related and

combat footage within the DW is that of depicting the German soldier as facing impossible odds

in the Schicksalkampf to defend Germany. This portrayal, like that of the civil issues, was non-

discriminating in some aspects to Germany’s worsening capability, but at the same time

attempted to spin positive images from the terror they came from. When the Wochenschau films

are compared against reports gathered from men who served at the front, various discrepancies

can be noted, but both serve to further one’s interpretation of the war itself. The positive images

of the Wochenschau helped to form a false consciousness of possible victory through an

idealization of the war, while at the same time conceding to accounts of Germany ever retreating

and fighting a defensive war. This aspect alone shows that despite the false reality created by the

DW editors and camera operators, the true nature of the war still appeared on the celluloid reels

presented to the German populace. This is particularly evident in films from the final months of

68 Bartov, Hitler’s Army Soldiers, Nazis, and War in the Third Reich, 29. 69 Bartov Hitler’s Army Soldiers, Nazis, and War in the Third Reich, 30. 70 “Die Deutsche Wochenschau Nr. 702.” Vol. 12, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 71 “Die Deutsche Wochenschau Nr. 726.” Vol. 13, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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the war, where combat was taking place within the borders of Großdeutschland. Despite the

attempts of the editors and censors, nothing could be done to mask or spin images of German

youths and old men manning positions with only the bare minimum of war fighting equipment

and supplies. In order to gain the best understanding of the degradation of Germany’s fighting

ability and wartime condition through the Wochenschau films, it is important to view the DW

newsreels in relation to the themes they best present.

The importance of combat can be seen in the title sequence of almost every single DW

film produced during the third Reich. This aspect is shown with a simple line of text and a series

of names below it. It states, “Mit Frontaufnahmen der Kriegsberichter:”72 which means “with

front-recordings of the war-reporters.” This was to give credence and authenticity to the images

in the following DW production, as well as show the importance of war related images within

the production. So important were images of combat to Reichsminister der Propaganda

Goebbels, that when things when Germany ended up as defeated in the battle for Stalingrad, he

personally stated that all footage for the upcoming Wochenschau feature Stalingrad has to be

reshot with new front-line footage.73 From this, it is clear that no combat footage showing clear

defeat would pass the censors, but the value of frontline footage to the Wochenschau program

was paramount. Editing and censorship also played a heavy role in presenting positive combat

images to the German public, especially when real footage was mixed with archival footage for

added dramatic effect. One such example is that of the heavy railway gun “Dora” in DW Nr. 659

from 1943. In the film, the gun is shown deployed in an area where it never was, obviously the

72 “Die Deutsche Wochenschau Nr. 669.” 73 Bartels, Die Wochenschaum im Dritten Reich, 489.

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result of compiling archival and real footage to create a false reality.74 This sort of footage is

typical of the reactionary type of editing done after the Niederlage75 of Stalingrad.

Similarly to the edited and compiled footage of the “Dora” railway gun, there were

several other examples of footage presented in a way to mask the reality of the situation, which is

not effective when the films are analyzed on a deeper level. Several of these instances come from

DW newsreels filmed in 1943, and of these one in particular is of note in regards to the

Bandenkampf76 against “gangs,” who were members of partisan units [Terroristen] engaged in

harassing combat against the Germans. DW Nr. 674 from 4. August, 1943 shows this fighting in

detail. The segment begins with acknowledgement of a partisan ambush on a supply convoy,

after which German soldiers along with eastern auxiliaries are deployed against the “gang.”77

This alone speaks volumes of the situation on the Ostfront. The German army is shown

victorious in the film, and no casualties are noted, but the ambush still occurred. Despite the

routine searches and identification checks presented in a previous DW film,78 the partisans still

were able to inflict damage on the Wehrmacht. This is a clear indicator of how much the German

military was hampered and continually harassed by partisan forces on the Eastern front, despite

how many killed partisans appeared onscreen as they did in DW 674.79 The Abwehrschlacht80

against resistance in the territories controlled by Germany was an element of the “total war”

concept, and like civil and military issues also in relation to this, was to remain an inherent part

of the Wochenschau films. So, like the bomb raids and wartime production discussed in the

previous section, Bandenkämpfe and vicious fighting were to be included for they all touched on

74 Bartels, Die Wochenschau im Dritten Reich, 492. 75 Trans. Defeat. 76 Trans. Anti-partisan fighting. 77 “Die Deutsche Wochenschau Nr. 674.” 78 “Die Deutsche Wochenschau Nr. 670.” 79 “Die Deutsche Wochenschau Nr. 674.” 80 Trans. Defensive battle

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a key element of Nazi propaganda: fear of losing the war and corollary Schicksalkampf, which

would doom Germany and its’ citizenry.81 Fear was clearly demonstrated through DW

productions, such as the case of a Soviet massacre of civilians in Nemmersdorf, that the

cameramen of PK units clearly captured for all to see on screen.82

From the DW films cited, along with the wishes of Reichsminister der Propaganda

Goebbels, the role of combat footage is clear. Situations both positive and negative were

recorded and subsequently used to drive concepts of fear-based propaganda, as well as give

positive images of a still successful Wehrmacht. As the war dragged on into 1944, more changes

had to be made to keep these concepts working. One classic example was the renaming and

disguising of near universal German retreat on all fronts. Rückzuge, or retreats, were called

“Frontbegradigung,” “Frontverkürzung,” or “geordneten Absetzbewegungen.” These terms,

which translate to “front-straightening,” “shortening of the front,” and “organized retreat” are all

phrases or terms that mask reality, but at the same time do not directly hide the poor future the

Wehrmacht faced on all fronts. These terms are typical for DW produced in 1944, and were

employed as a means to ultimately disguise the retreats as planned maneuvers from a

numerically superior enemy.83

Of the DW films recorded in 1944, almost all show in one way or another, a defensive

battle being fought by German troops. As the year went on, the locations of combat became

closer and closer to Germany, so it without question that the propagandists working for the

Wochenschau had to accept this. But, there were only so many ways to reshape a situation for

81 Bartels, Die Wochenschau im Dritten Reich, 495. 82 “Die Deutsche Wochenschau Nr. 739.” Vol. 14, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 83 Bartels, Die Wochenschau im Dritten Reich, 496.

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positive propaganda purposes. A clear example of this is DW 715 from May, 1944.84 In this film,

the Germans are shown to have been successful in their retreat from the Crimean peninsula, and

the Soviets were discredited despite their gain in territory, as German and Romanian forces were

able to pull out in time despite fierce fighting.85 This action on part of the DW editors and

censors does not hide problems or the retreat itself, but rather defines it as something else. The

massive losses in men, material, and territory are ignored, and instead a positive image of the

Germans’ achievement of retreating is presented to the viewer. Military disaster was essentially

forbidden from being shown, and instead victories of a different definition were projected onto

the German populace.

Collapse in the West: Comparisons Between Reality and Filmed Reality on the Western Front

The reality of the war can also be ascertained from more direct analyses of the DW films,

especially when coupled with testimonies from the men of the Wehrmacht themselves. In

transcripts of POW interviews with Wehrmacht and SS soldiers captured in the Normandy

campaign, the war as depicted in the Wochenschau remains truthful in some aspects, but is clear

all did not share the stalwart attitude of the German soldier that appeared in the Wochenschau. In

a transcription of a conversation among several POW’s captured by American forces during the

Normandy campaign and subsequent breakout in June through August 1944, opinions of the war

aren’t universal. Though one man believes that the allied forces will never breach the borders of

84 “Die Deutsche Wochenschau Nr. 715.” Vol. 13, Disc 1. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 85 Ibid.

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the Reich, another is much more critical. This man, a Leutnant (Lieutenant) Erschen of I / I.R.

1050 [sic],86 states:

Als der Feind 2 km vor dem Westwall stand, sagte man: “Das macht nichts, wir kämpfen weiter.” Wenn der Feind 2 km vor BELGRAD steht, sagt man: “Das macht nichts, wir kämpfen weiter!” Wenn der Feind vor WEIN steht, sagt man: “Das macht nichts, wir kämpfen weiter!” Wenn der feind 2 km vor GRAZ steht, sagt man: “Das macht nichts, wir kämpfen weiter!” Aber GRAZ ist meine Heimatstadt!87 Leutnant Erschen demonstrates an attitude that does not reflect the same virtues that the DW

wished to present as that of the German soldier. Erschen realized the defensive battles that the

DW hailed as successful were only becoming closer to Germany. The phrase, “Das macht nichts,

wir kämpfen Weiter!” is representative of the total war concept, as disregarding the advance of

the enemy and fighting on despite the odds of victory being increasingly unlikely is the concept

shown in the DW and supported by Reichsminister der Propaganda Goebbels.88 What Lt.

Erschen describes is exactly what was happening on all fronts, and what the Wochenschau was

depicting. So though there were retreats, the German army fought on despite being pushed ever

further back.

Continuing with the theme of comparing wartime reports of action and other related

aspects spoken by German soldiers, the Wochenschau continues to show real footage of the

problems facing German soldiers. In keeping with the style of DW films produced in 1944, these

problems were recognized and appeared on screen. However, the seriousness of the situation is

86 Infanterie-Regiment 1050 did not exist within the Heer. It was instead Grenadier-Regiment 1050. This is an error on part of whoever typed up the report. 87 Trans. When the enemy stood two km. from the Westwall, one said: “That means nothing, we fight on.” When the enemy stands two km. before Belgrade, one says: “That means nothing, we fight on!” When the enemy stands before Vienna, one says: “That means nothing, we fight on!” When the enemy stands 2 km. before Graz, one says: “That means nothing, we fight on!” But Graz is my Hometown. “Reich’s Plight as Viewed by PW’s” FID-DZ DQR 20. Textual Records from the War Department. Military Intelligence Service, Intelligence Group. Captured Personnel and Materiel Branch. (06/1944-1946) Archives II Reference Section (Military), Record Group 498, Textual Archives Services Division, College Park, MD. 4. [See Appendix B, second document.] 88 Bartels, Die Wochenschau im Dritten Reich, 497.

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lost when the triumphant German soldier is shown triumphant at the end of every serial. Such is

the case with DW Nr. 720, from June 1944. Allied planes are states as preventing German

vehicles from moving to the front, but the film shows Germans taking many allies prisoner and

ends with an awards ceremony for SS troops.89 The presence of allied airpower in 1944 was a

clear and present danger, as described by two Lieutenants of the German Army in information

received on 21. June, 1944. One stated that his entire company command had been killed in an

air raid, the other that the Panzer-Divisionen in the Normandy area could not move up due to air

raids, and that on 13. June, 1944, a Panzer division was hit hard by attacks from the air that

essentially rendered the division useless.90 This information proves that the DW programs did

show many of the problems encountered on the front line. The outcome of these enemy actions

was clearly omitted, and in the case of DW 720 the allied bombs were described as not

penetrating German defenses, and missing targets, but at the same time it was noted that they

delayed and stalled the advance of reserve units to the front.91

Other elements that show the plight of the Wehrmacht through depictions of combatants

in the German army are subtler and not as easy to detect. These aspects are the raising of troops

in the late-war period, which was severely different than that of the years before 1944. As of

September 25th, 1944, all men able to handle weapons were considered conscripted into the

Wehrmacht.92 Before these men were activated for their service, all of the available young men

eligible for service within the borders of Großdeutschland were also conscripted or volunteered.

Omer Bartov describes the élite Panzergrenadier-Division-Großdeutschland as taking in new 89 “Die Deutsche Wochenschau Nr. 720.” Vol. 13, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 90 “Luftwaffe,” FID-DZ DQR 4. Textual Records from the War Department. Military Intelligence Service, Intelligence Group. Captured Personnel and Materiel Branch. (06/1944-1946) Archives II Reference Section (Military), Record Group 498. Textual Archives Services Division, College Park, MD. 2. [See Appendix B, third document] 91 “Die Deutsche Wochenschau Nr. 720.” 92 Bartels, Die Wochenschau im Dritten Reich, 497.

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recruits as young as sixteen, direct from the Hitlerjugend.93 With these young recruits, older men

also helped to form the last line of defense of the Reich.

1945: Untergang Deutschlands:

The End of the War and the Wochenschau Similarly to the DW newsreels recorded in 1944, all of the 1945 produced DW episodes

survived the war and are in good condition to view.94 This fact does not hold true for most of

Germany during this era, and the luck that these newsreels had in self preservation is not

reflected on the lives of countless German soldiers killed during these final, bitter months of

combat. Unlike the newsreels produced in 1943 and 1944, the amount of combat footage in the

1945 produced DW films increased, representing over fifty percent of the material in the final ten

DW films released before production ceased forever.95 These films take all of the elements in

regards to total war and the Schicksalkampf and make them the driving force of each story. The

stories shown on the ten DW films produced between January and March 1945 lack the

refinement and positive civil stories such as those related to arts and culture that were often seen

in DW newsreels produced prior to 1945. This aspect is a clear reflection of the Nazi state’s final

moments, in which defense of the Vaterland was paramount, and the realization that war had

fully come to Germany prompted the DW producers to change their formula once again. Another

obvious aspect pertaining to the modification of the DW is that due to the intense fighting and

destroyed infrastructure of Germany96 It is also worthy to note that the quality of troops

participating in combat during these last few months varied from both extremes of the spectrum.

93 Bartov, Hitler’s Army Soldiers, Nazis, and War in the Third Reich, 56. 94 Bartels, Die Wochenschau im Dritten Reich, 501. 95 Ibid. 96 “Die Deutsche Wochenschau Nr. 750.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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Some were culled from Poland;97 others included former soviets that had voluntarily joined the

German army.98 Beyond these groups, there existed legions of SS-Freiwilliger soldiers who had

joined from various territories within the Reich, including France.99 The final bulk of the broken

Wehrmacht was what remained of units that had been in combat while retreating across part of

their own nation. Supplanting those soldiers were auxiliaries and conscripts consisting of old

men and young boys, the poorly trained and ill-equipped Volkssturm.

The final newsreels included footage of the soldiers described above in some of the

fiercest combat ever seen in the war, and yet the determination to fight on described by Lt.

Erschen is still evident both in the actions of the men on screen, and the propagandized and

edited depiction narrated by Harry Giese. One of the DW from this era, released on January 4,

1945, depicts the hard fighting along the Ardennenfront, known to the allies as the Battle of the

Bulge. Though by January the German surprise attack had been stalled, the film shows droves of

American soldiers falling into German captivity,100 which is at best a trivial story.

With every subsequent DW film produced, the dire situation of Germany became ever

more apparent. The “stories” that once occupied large amounts of time within each DW film

were reduced to ever shorter and quicker segments, with the final few DW pieces ultimately

consisted of aggregate and composite material combined with the few pieces of new film

available.101 In similar fashion, the soldiers depicted on screen become physical representations

97 “Foreigners” FID-DZ DQR 20. Textual Records from the War Department. Military Intelligence Service, Intelligence Group. Captured Personnel and Materiel Branch. (06/1944-1946) Archives II Reference Section (Military), Record Group 498. Textual Archives Services Division, College Park, MD. 5. [See Appendix B, fourth document.] 98 “Die Deutsche Wochenschau Nr. 754.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 99 “Die Deutsche Wochenschau Nr. 707.” Vol. 12, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 100 “Die Deutsche Wochenschau Nr. 747.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 101 Bartels, Die Wochenschau im Dritten Reich, 501.

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of the problem facing not only the Wochenschau, but also the Nazi military and state. In one

segment of a January, 1945 DW, Volkssturmmänner are shown being issued not only rifles and

anti-tank weapons, but also helmets and uniforms.102 A few weeks later in two subsequent pieces

also featuring the Volkssturm, not only are two of the Kampfberichte shown as dead on the title

screen,103 but the Volkssturm group shown being equipped is just footage taken from DW 748.104

The repetition of this theme demonstrates the need to reinforce the aspects of both duty and

sacrifice to the German public, but also is caused simply by lack of footage on part of the war.

Once again, the reality of the war makes its way through the idealized Wochenschau, though this

time it is more obvious than ever before.

In this final era of the DW, the language used by the narrator to describe the state of

affairs became as increasingly propagandistic and political, which coincided with images of the

end. Giese used figurative language such as Opfer, or sacrifice, to describe what the Germans as

a people must do in order to combat the wave of Soviet military might that pushed closer every

day. This phrase accompanied images of German refugees escaping by wagons, wearing only

tattered clothes and with few possessions.105 These images existed to give reason for the final

sacrifice, to place the blame of the German’s misfortune on the enemy, cited as being a

Mongolian storm, and also to urge Germans to fight to the end against this enemy. The issue at

this point is that those who were left to fight stood no chance of stopping the onslaught of allied

forces, in direct contrast with the message the DW of March 5th, 1944. In this newsreel, Giese

states: “Der Kampf an allen Fronten geht Weiter…”106 which translates to: “the struggle on all

102 “Die Deutsche Wochenschau Nr. 748.” 103 “Die Deutsche Wochenschau Nr. 750.” See image in Appendix A. 104 “Die Deutsche Wochenschau Nr. 750.” 105 “Die Deutsche Wochenschau Nr. 751.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005) 106 “Die Deutsche Wochenschau Nr. 753.” Vol. 14, Disc 2. Through Enemy Eyes a Newsreel History of the Third Reich at War, DVD. (Chicago: International Historic Films, 2005)

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fronts continues.” The struggle may have continued for a short period more, but it was only a

matter of time before the Third Reich was defeated.

The propagandistic tone, poor quality, and negative images shown in the final ten DW are

not only representative of the end of the DW, but also Hitler’s Nazi Germany. In these last

episodes, the state of Germany is not hidden, and despite over messages of propaganda, the

images are easily understood and interpreted. Despite having intentions of showing bravery

among soldiers and sacrifice among the people, images such as that of a young boy dressed in a

shortened and refit Heer uniform complete with Helmet and equipment,107 only serve as

reminders of the dismal situation Nazi Germany faced in 1945. At this juncture, the

Wochenschau simply could not promote an idealized war; it had only the opportunity to focus on

and emphasize ideals that fit with the National-Socialist rhetoric and ideology.

Conclusion It is clear that Die Deutsche Wochenschau has earned a place in history, however

infamous it may be. Though the newsreels never contain the blatant and hateful racism of films

such as Der Ewige Jude, or the purely propagandistic elements of Triumph des Willens, they are

nonetheless associated with the Nazi state. Because of this connection, it is of no surprise that

these newsreels can remain objects of historical contention today. The debates surrounding the

DW today, sixty-seven years after the last one was even filmed, primarily consist of arguments

around the authenticity of the material in the newsreels. When the films are analyzed, it is

without question that they cannot be held as fully factual depictions of the events they projected.

This does not void the DW films as a historical resource, for the modifications and edits made in

107 “Die Deutsche Wochenschau Nr. 753.”

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the projection of propagandized wartime events add a new layer of understanding to the narrative

of the Second World War. The paradigm shift of the methodology and style used by the DW

program in the years between 1943 and 1945 is emblematic of not only the maturing of Nazi

propaganda, but also of Nazi Germany’s worsening war situation. Because of this key aspect, the

newsreels released under the control of the Nazi state should secure an important place in

history. Despite the obvious significance of the Wochenschau films as historical documents, they

are not without problems. The inherent problems of the Wochenschau films include falsified

footage and stories created from compilation. Though the creation of false realities and idyllic

vignettes are also problems to the Wochenschau, they are beneficial to understanding the

background of the DW programs, as well as the propaganda of the Nazi state. Coupled with the

preceding aspects, the segments of combat and civil issues also show Germany’s crippled war

fighting capacity despite the efforts of editors and censors. These elements all serve the historian,

or the knowledgeable viewer in the same fashion. Combined, all aspects of the Wochenschau

give a fuller and more complete understanding of the Second World War. From the moving

images in the Wochenschau, one can truly grasp the horrors of war regardless of the masking or

façades put in place to disguise them. Even in the final few DW segments produced, footage of

tired, beaten men being decorated with the Eisernes Kreuz108 in defense of the Reich is not

enough to disguise the reality of the situation.109 From the images alone, one can make this

simple determination. Therefore, the Wochenschau is not just a simple piece of propaganda, but

rather a complex compilation of primary source footage.

108 The Iron Cross, a medal awarded for valor or bravery in combat. 109 “Die Deutsche Wochenschau Nr. 754.” See Image of scene in Appendix A.

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Appendix A: Images

Harry Giese, narrator of the Wochenschau newsreels.

Image: “Porträt Harry Giese, Sprecher der Deutschen Wochenschau, vor Mikrofone.” Bundesarchiv web site. Bild 183-2007-1026-501, img/.jpeg file. http://www.bild.bundesarchiv.de/ (accessed April 3, 2012)

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Mixing room of Die Deutsche Wochenschau GmbH, 1941 Image: “Im Mischraum der Redaktion der Deutschen Wochenschau.” Bundesarchiv web site. Bild 183-2007-1026-500, img/.jpeg file. http://www.bild.bundesarchiv.de/ (accessed April 3, 2012)

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Image: Screen capture from “Die Deutsche Wochenschau Nr. 670”

40

Image: Screen capture from “Die Deutsche Wochenschau Nr. 748”

41

Image: Screen capture from “Die Deutsche Wochenschau Nr. 699”

42

Image: Screen capture from “Die Deutsche Wochenschau Nr. 750.”

43

Image: Screen capture from “Die Deutsche Wochenschau Nr. 754

44

Appendix B: Documents from the U.S. National Archives

45

46

47

48

Bibliography

Secondary Sources: Bartels, Ulrike. Die Wochenschau im Dritten Reich: Entwicklung und Funktion eines Massenmediums unter besonderer Berücksichtigung völkisch-nationaler Inhalte. New York: Peter Lang, 2004.

Bartov, Omer. Hitler’s Army Soldiers, Nazis, and War in the Third Reich. New York: Oxford University Press, 1992.

Fischer, Klaus P. Nazi Germany A New History. New York: Continuum International Publishing Group, 1995.

Herzstein, Robert. “Crisis on the Eastern Front, 1941-42: A Comparitive Analysis of German and American Newsreel Converage.” Film & History (1983) Vol. 13 Issue 2, 34-42.

Hoffman, Kay. “Propagandistic Problems of German Newsreels in World War II.” Historical Journal of Film, Radio and Television, (2004) 24 (1): 133-42

Rother, Rainer and Prokasky, Judith. ed. Die Kamera als Waffe: Propagandabilber des Zweiten Weltkrieges. Munich, 2010. Culbert, David. “Amerikanische Wochenschauen im Zweiten Weltkrieg.” in Rother, 229-40. Dirk Alt, et al., “Von Charkow bis zum Don.” in Rother, 79-95. Fuhrmann, Hans-Peter. “’Die Idealität des Empfindens’ als Ziel der Filmpropaganda.” in Rother. 106-114. Rother, Rainer. “Die Kriegswochenschau – Entstehung einer Form.” in Rother, 39-48. Zöller, Alexander. “Soldaten oder Journalisten?” in Rother, 167-179. Winkel, Roel Vande. “Nazi Newsreels in Europe, 1939-1945: The Many Faces of Ufa’s Foreign Weekly Newsreel (Auslandstonwoche) versus Germany’s weekly newsreel (Deutsche Wochenschau) Historical Journal of Film, Radio & Television. (2004) Vol. 24 Issue 1, 5- 34. Primary Sources: Text Goebbels, Joseph “Nation Rise Up and Let the Storm Break Loose” trans. Randall Bytwerk, in the German Propaganda Archive. http://www.calvin.edu/academic/cas/gpa/goeb36.htm (accessed March 28, 2012). Reports Relating to Prisoner of War Interrogations, compiled 1943-1945. Textual Records from the War Department. Military Intelligence Service, Intelligence Group. Captured Personnel and Materiel Branch. (06/1944-1946) Archives II Reference Section (Military), Record Group 498. Textual Archives Services Division, College Park, MD.

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Film DIE DEUTSCHE WOCHENSCHAU, NO. 699. Motion Picture Films from G-2 Army Military Intelligence Division, compiled 1918- ca. 1947. Record Group 242. Local Identifier 242-MID-3149. Reels 1-2. National Archives and Records Administration, College Park, MD. Note: The following films cited were recorded and originally distributed in 1943-1945. The date shown in the citation reflects the DVD release and compilation. They have been arranged according to the original release number of the Wochenschau. Since the films are part of a compilation set, the set has been cited, with each film’s place within the set cited below. Through Enemy Eyes: a Newsreel History of the Third Reich at War. Chicago: International Historic Films, 2005 (Vols. 11-14) Gettysburg College. “Die Deutsche Wochenschau Nr. 668.” Vol. 11, Disc 1. “Die Deutsche Wochenschau Nr. 669.” Vol. 11, Disc 1. “Die Deutsche Wochenschau Nr. 670.” Vol. 11, Disc 1. “Die Deutsche Wochenschau Nr. 672.” Vol. 11, Disc 1. “Die Deutsche Wochenschau Nr. 674.” Vol. 11, Disc 1. “Die Deutsche Wochenschau Nr. 679.” Vol. 11, Disc 2 “Die Deutsche Wochenschau Nr. 681.” Vol. 11, Disc 2. “Die Deutsche Wochenschau Nr. 688.” Vol. 12, Disc 1. “Die Deutsche Wochenschau Nr. 698.” Vol. 12, Disc 2. “Die Deutsche Wochenschau Nr. 702.” Vol. 12, Disc 2. “Die Deutsche Wochenschau Nr. 707.” Vol. 12, Disc 2. “Die Deutsche Wochenschau Nr. 715.” Vol. 13, Disc 1. “Die Deutsche Wochenschau Nr. 720.” Vol. 13, Disc 2. “Die Deutsche Wochenschau Nr. 726.” Vol. 13, Disc 2 “Die Deutsche Wochenschau Nr. 739.” Vol. 14, Disc 1. “Die Deutsche Wochenschau Nr. 747.” Vol. 14, Disc 2. “Die Deutsche Wochenschau Nr. 748.” Vol. 14, Disc 2. “Die Deutsche Wochenschau Nr. 750.” Vol. 14, Disc 2. “Die Deutsche Wochenschau Nr. 751.” Vol. 14, Disc 2. “Die Deutsche Wochenschau Nr. 753.” Vol. 14, Disc 2. “Die Deutsche Wochenschau Nr. 754.” Vol. 14, Disc 2.

Still Photos:

German Federal Archives, Bundesarchiv. Taken from Bundesarchiv web site, http://www.bild.bundesarchiv.de/