"Blatter catalogue no. 13." 32 pages : illustrations ; 21 cm.

xii, 276 p., [16] p. pl. : ill., facs., portr. ; 25 cm.

Rectangular form of yellow paper; printed French text in black ink; antisemitic propaganda.

Group of posters and leaflets with anti-Semitic propaganda. Printed in black ink on off-white paper

Eleanor Roosevelt momentarily shown as fashion model. Narrator claims she personally propagated "swing." Narrator makes fun of "inferior" Black American's swing music and dancing and its cultural acceptance among whites. Jitterbugging, swing, and endurance dancing shown. Black baptism in river seen closeup. 02:03:08 Max Ernst and cubist and surrealistic "degenerate art," FDR speaks, and rabbis watch as Jewish War Veterans march. Baptism in river, pro-wrestling match, women wrestling, mud wrestling, and man jumps to death from building.

This collection consists of: digitised copies of 9 letters sent by Mendel Fishel, Emily Black and their youngest son Leon Fishel in Antwerp to their oldest sons Maurice Bernard and Leonard Fishel in a civil internment camp, including one dated on the day Mendel and Emily reported at the Dossin barracks ; a family portrait of Mendel Fishel and Emily Black, with youngest son Leon ; portraits of Mendel Fishel and Leon Fishel ; Leon Fishel in the Maccabi football team outfit ; Leon Fishel and his soccer team of Maccabi Antwerp ; Leon Fishel wearing the yellow star ; a series of propaganda photos taken at the civil internment camps or Internierungslager at Tost (Ilag VIII) and Kreuzburg (Ilag VIII/Z) ; a photo album received by Leonard (Len) Fishel after the war from the Young Men's Christian Association or YMCA illustrating the YMCA's mission to several civil internment camps including those in Tost and Kreuzburg where Leonard was held.

First published: New York : Free Press,1987. x, 374 p., [16] p. pl. : ill. ; 25 cm.

A banner announcing a food transport for the Sudetenland. Food for Sudeten Germans brought in on trucks. Propaganda papers tossed to crowds. A close up of a newspaper reading "Memel ist frei!" View of banner reading, "We have arrived home!" A man is shown painting over the Lithuanian words on a sign so that only the German is visible. The sign appears to designate a train station. Memel, formerly part of East Prussia until it was ceded to Lithuania under the Versailles Treaty, was annexed back to Germany in March of 1939. Soldiers enter town in trucks, greeted by rambunctious crowd. Shots of Memel fascists in black uniforms, and of active crowds, including schoolchildren carrying small swastika flags. German police (?) with flowers tucked in their overcoats watch planes overhead.

Map showing Germany, Russia, Austria. Poland appears on the map in black. Map showing the Free State of Danzig. The narrator lists the various abuses of sovereignty perpetrated by the Poles. Scenes of Danzig, including shots of Nazi flags flying and pro-German signs. Shots of Danzig harbor. Men of the Danzig SA fortifying a border crossing. A parade of marching troops of the Danzig SS-Heimwehr. Volksdeutsch refugees crossing a field with suitcases, fleeing "Polish terror." A sequence showing refugees arriving in the "protection of the Reich." They are provided with food, and give lengthy interviews about the abuse they have suffered at the hands of the Poles.

A German propaganda poster depicts a tank with a Nazi swastika banner in the BG. It reads, in Russian, "Growing every day." Another propaganda poster depicts a German soldier in the FG, turning back to face local peasants, who are standing behind him and waving to him. It reads, again in Russian, "The German Army, your protector and friend!" A third propaganda poster shows a farmer tending to his field, and reads: "Now, I work in peace". A fourth poster shows a farmer planting seeds, but the caption is illegible, as the time code was burned in on top of it in a moment of dazzling brilliance. 01:31:47 VS, CU, MCU, MS of Soviet POWs who are put to work in a German factory receiving suits and shoes. VS, POWs being fitted for suits, smiling. VS, POWs sitting on a bench trying on shoes, continue to smile for the camera. Walking in front of shop window and bowing. Translation of Russian narration: Not only the entire German military industry, but that of the whole of Europe is now working to arm the front that stretches from the Arctic Ocean to the Black Sea. Thousands of tanks, airplanes, and various kinds of guns, millions of shells, rifles, and missiles are flowing from factories, plants, and workshops to the front lines. In the arms of skilled German soldiers, in the arms of his companions, among whom there are already tens of thousands of Russian people, this armor turns into a threatening weapon pointed at the Bolsheviks. Between you and your enemy - the Bolsheviks - the German army is standing. And peaceful work is possible only under its protection. The turmoil of war has gone. It swept away collective farm slavery; got rid of greedy commissars, Party officials, and sly Jews feeding on people's sweat and blood. And a peasant who early in the morning goes into a field knows that this is his land that he works on, and that the fruit of his work belongs to him, and that he can work peacefully at last. Each furrow, each hand of seeds put into the soil, everything serves a higher purpose that inspires all liberated Russian people, it serves for the restoration of our homeland economy.

Ring of hate tells the story of one of the greatest sports events of the twentieth century, the heavy-weight championship bout between Germany's Max Schmeling and America's "Brown Bomber", Joe Louis - at a time when both men carried their nation's hopes on their shoulders. More than the world heavyweight championship was at stake when Joe Louis fought Max Schmeling on June 22, 1938. In a world on the brink of war, the fight was perceived as a contest between nations, races, and political ideologies - the symbol of a much vaster struggle. Nazi propaganda minister Joseph Goebbels boasted that the Aryan Schmeling would crush his "inferior" black opponent. President Franklin D. Roosevelt told Louis, his guest at the White House, that "America needs muscles like yours to beat Germany." For Louis, this was also his chance to avenge the only loss in his brilliant professional career - by a knockout - to the same Max Schmeling two years earlier. Includes bibliographical references and index. 256 pages, 8 unnumbered pages of plates : illustrations, portraits ; 20 cm

A German propaganda poster depicts a tank with a Nazi flag/swastika banner in the background. It reads, in Russian, "Growing every day." Another propaganda poster depicts a German soldier in the foreground, turning back to face local peasants, who are standing behind him and waving to him. It reads, again in Russian, "The German Army, your protector and friend!" A third propaganda poster shows a farmer tending to his field, and reads: "Now, I work in peace". A fourth poster shows a farmer planting seeds, but the caption is illegible, as the time code was burned in on top of it in a moment of dazzling brilliance. 01:31:47 VS, CU, MCU, MS of Soviet POWs who are put to work in a German factory receiving suits and shoes. VS, POWs being fitted for suits, smiling. VS, POWs sitting on a bench trying on shoes, continue to smile for the camera. Walking in front of shop window and bowing. Translation of Russian narration: Not only the entire German military industry, but that of the whole of Europe is now working to arm the front that stretches from the Arctic Ocean to the Black Sea. Thousands of tanks, airplanes, and various kinds of guns, millions of shells, rifles, and missiles are flowing from factories, plants, and workshops to the front lines. In the arms of skilled German soldiers, in the arms of his companions, among whom there are already tens of thousands of Russian people, this armor turns into a threatening weapon pointed at the Bolsheviks. Between you and your enemy - the Bolsheviks - the German army is standing. And peaceful work is possible only under its protection. The turmoil of war has gone. It swept away collective farm slavery; got rid of greedy commissars, Party officials, and sly Jews feeding on people's sweat and blood. And a peasant who early in the morning goes into a field knows that this is his land that he works on, and that the fruit of his work belongs to him, and that he can work peacefully at last. Each furrow, each hand of seeds put into the soil, everything serves a higher purpose that inspires all liberated Russian people, it serves for the restoration of our homeland economy. Many Russians, Ukrainians, Byelorussians, and other Eastern Europeans who were forced to mobilization by the Bolsheviks and later on taken as prisoners of the war, have been freed for their good behavior and are now making their path to start their usual work. Right now we can see a group of former prisoners at one of the Berlin stores who are purchasing civil clothes for themselves. Tomorrow they will start their usual work according to their civil profession.

Consists of a black book illustrated with black-and-white photographs of Nazi leaders and propaganda events. It also contains forms pertaining to family genealogy and personal history, which have not been filled out. In tissue paper, book contains one triangular cloth patch and one b&w photograph of a woman feeding geese, dated 1958.

Contents include propaganda broadcasts transmitted from 1944-1945 by the black propaganda radio station Sender 1212 (Radio 1212) and interviews conducted in 1979 with ex-personnel, Edmund Schechter and Hanuš Burger.

"United States," an AKS production, January 23, 1946. (This is a portion of G I Weekly 108) VS, poor people and children in Europe. LS, ship of Mayflower class. VS, settlers clearing land for farming. LS, British troops marching into village with colonists watching. CU, handbills of new taxes, decrees, etc. VS, colonists assembling and marching through woods and along roads. VS, battles between British troops and colonists. CU, Declaration of Independence. LS, Gen. Washington at head of column of soldiers enters town. VS, Blacks picking cotton by hand. VS, cotton weaving and spinning machines.

A propaganda film declared as a "documentary film contribution about the problem of world Judaism," in which antisemitic stereotypes are disseminated by the Nazis, including scenes showing: Poland as a nesting place for Judaism; the comparison of Jews with rats; the difference between Jews and Aryans; "international crime"; "financial Judaism"; "assimilated Jews"; the Jewish influence on economics, culture, and politics; and Jewish religious practice with a portrayal of haggling and misused sacred Jewish texts. REEL 5 An animated diagram illustrating the population of Germany, with the narration: "For every thousand struggling Germans there were ten Jews, who were always united in one common aim in genuine or feigned rivalry - collective exploitation of the Germans." The German populace is represented by many white figures covering the map of Germany, while the Jews are depicted as black figures that appear and then disperse among the Germans. The animation diagrams illustrate the number of professional occupations -- judges, lawyers, prosecutors, doctors - that were dominated by Jews in 1933. 00:36:11 The commentary notes comparative average wages. "While millions of native Germans were unemployed and in distress, immigrant Jews had in a few years gained fantastic fortunes." Film of Germans living in make-shift homes and women scavenging for coal. The title "Inflation" is followed by footage of bank notes and then by stills of Jewish businessmen Willy and Leo Sklarek, Iwan Kutisker, Julius Barmat, Franz von Mendelssohn and Ludwig Katzenellenbogen. Film of classical sculptures, and famous paintings, including Botticelli's "Venus", Michelangelo's "Creation" and Cranach's "Madonna Under the Apple Tree", with an organ playing Bach in the background. Narration: "Jews are at their most dangerous when they meddle in a people's culture, religion and art." 00:38:10 Film of modern "degenerate" art including paintings by Nolde ("The Lost Paradise"), F. F. Kaiser, George Grosz, Paul Kleinschmidt and Otto Dix, woodcuts and sculptures. Film of primitive art sculptures cuts to brief images of black entertainers, while the music shifts to African music. Narration: "These fevered fantasies of incurably sick intellects were once presented to public opinion by Jewish art theorists as the highest manifestation of art." The narrator continues with a litany of the German cultural enterprises (music, architecture, sculpture) that have been brought low by the Jews. This is accompanied by stills of examples of degenerate art. 00:39:10 Black performers (a male banjo player and female singer) are separately juxtaposed next to African-style sculptures and the interior of a German theater, respectively. Still photographs of prominent Jews from the Weimar period: Alfred Kerr, Kurt Tucholsky and Magnus Hirschfeld. After the still of Hirschfeld appear several sexually provocative publications, one stacked on top of the other. 00:40:06 Immediately following is a still of Albert Einstein, whom the narrator dubs "The relativity-Jew Einstein, who hid his hatred of Germany behind obscure pseudoscience." A still of Leo Kestenberg is followed by representations from Weimar-era theater: advertisements for burlesque-type stage shows ("A Thousand Naked Women!!"). Stills of: Hermann Haller, Rudolf Nelson, Alfred and Fritz Rotter, James Klein, Max Reinhardt and "Jewish comics" such as Max Ehrlich, Paul Morgan, Max Hansens. "And it is no different with film": stills or footage of: Richard Oswald, Kurt Gerron, Rosa Valetti, Curt Bois, who, the narrator notes, "enjoying himself in a particularly perverse portrayal" appears in drag, makes himself up to go out on stage, and does so on the arm of a woman dressed as a man.

***This footage is from a roughly ninety-minute propaganda film that was never finished or shown publicly. It was created by a German propaganda camera team in the spring of 1942.The Nazi regime created these ghettos and imprisoned Jews within them, subjected them to these conditions of starvation and disease and overcrowding. And yet, with a film like this, they hoped to suggest that these conditions were chosen by the Jews, that they were natural Jewish living conditions. This film is considered propaganda because it is heavily staged, omits selective information, attempts to establish grotesque stereotypes, and exaggerates many elements of reality. This German propaganda film ended up on the shelf, never finished, never shown, never given a sound track that we know of. It seems that the development of the war and of the genocidal acts in 1942 probably made this irrelevant as propaganda. Mass deportations of Jews from the Warsaw ghetto began soon after filming was completed.*** Detailed Description: Film leader marking: "Achtung! Geheime Kommandosache!" CU women in prison yard. Women with closely cropped hair, CU. Boys inside prison, in cell, strongly lit for cameras. One boy struggles forward. CU, emaciated boy. Reverse angle shot of boys driven through prison doorway, towards light and the street. Jewish policeman with stick, hitting them as they emerge. One of the last runs out, wearing no shirt. In the prison yard, CU of very thin man with no shirt, shivering and twitching. CU of women lying on floor of prison cell. Young men lying in cell. One with badly rotted teeth, talking. Women in cell, strongly lit for filming. Pan to left, women sitting, posed for camera; emaciated. CUs. CU, two boys. Chalk board for 'Arrestanstalt' statistics on prisoners held: Convicted, Under Investigation, Adults, 17 and Under, etc. Date: 2. V. 1942 [2 May 1942]. Pan to cell bars; boys are sent running out of cell. Armband: "Judenrat Warschau ORDNUNGSDIENST" [Order Police]. CU, individual men against wall. Starving boy with prominent teeth. CU profile, young man with large nose; slowly turns head for camera. CU boy with protruding ears. More. Starving, wizened boy. 01:25:13 People pass body on sidewalk; numerous passersby walk along, apparently as directed for camera. Two men approach with long narrow black coffin on two-wheeled cart. As they turn cart around in street, two men walk R to L in street behind: one civilian, one uniformed German soldier (01:25:46). Men lift body. 01:26:22 Cameraman just visible over far end of cart for bodies. Wheeling cart along crowded street, people, stalls. Many look to camera, smile. Wooden stalls or huts in BG. Two bodies on pavement, people passing by. Men come with slatted cart, Warsaw ghetto wall to right, cobblestones prominent in scene. Boy helping with bodies on cart. One body slips into wet gutter, boy tries to assist. Gate and men with carts approach shed with bodies. Morgue-like structure, apparently at edge of cemetery area. Hauling bodies, cart FG and cart BG right. View of bodies stacked in shed, tagged; men tossing them. Most are naked. Close pan of bodies, women, children, legs. Camera holds on pubic area of female corpse. Bodies moved onto cart for transport to cemetery. Another cart is loaded. Bearded men stand and watch, as if assigned role as official "mourners." Carts pass through gateway towards open land, presumably cemetery. Procession of men and carts to large communal graves, mounds of dirt. Line of trees in BG. Bodies are slid down a narrow chute to open mass grave, where two men handle the bodies to lay them out, straighten them. 01:32:52 Quick view of a cameraman in pit with corpses, lower right of frame, climbs up. Fast, harsh, corpses sent down chute. All ages, all emaciated. Layers of paper and some dirt are placed over bodies by two men in the pit. Bearded Orthodox men stand at top of pit. As dirt is shoveled into mass grave, they move away, past mounds of dirt.

Early World War I propaganda toilet paper "Die Lügen-Nachrichten unserer Feinde! Bestes deutsches Abort-Papier" [the lying news of our enemies - best German toilet paper]. Consists of approximately 65 sheets with printed press reports bound in a folder, which is stamped on the back: Friedrich Blos Gr. Hoflieferant Karlsruhe. (New cord, original was black-red-white, see copy Staatsbibliothek zu Berlin)<br />German&nbsp;

A bound collection of printed, German-language materials relating to the March 5, 1933 Reichstag election in Germany. The dated materials range from January to March 5, 1933, though many are undated. They include portions of text from newspapers and magazines, as well as some advertising materials and smaller propaganda pieces. At the back, an oversize propaganda poster has been folded numerous times to make it fit within the book. All the pieces are bound between hard, black covers, and the front cover bears a handwritten label, “Material Reichstagswahl 5. Marz 1933”.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled `degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into `Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war e orts. Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II. [From the publisher]. 256 pages. : illustrations (black and white) ; 22 cm.