By Marcus O. Jones
This examine explores an exemplary example of the shut interplay among deepest and professional pursuits in making plans and executing the courses of the Nazi executive, particularly the purchase in 1941 of the Rombach metal works by way of the German industrialist Friedrich Flick. the economic obstacle headed via Flick used to be one of the biggest and so much influential metal manufacturers and brands of struggle fabric within the German financial system in the course of global warfare II. Its actions within the occupied territories of western Europe based on keep an eye on of the Rombach works, a wide operation validated in Lorraine within the past due nineteenth-century via German industrialists and expropriated by way of France, in addition to the total zone, within the aftermath of the 1st international conflict. After profitable army operations opposed to France in 1940, the Nazi regime actively sought the collusion of the German commercial neighborhood in mobilizing the efficient potential of occupied territories for the battle attempt, and various deepest German businessmen complicated claims at the profitable resources in Lorraine and adjoining areas. In his bid to achieve keep an eye on of the Rombach works, Flick was once profitable for purposes particular to his place in the Nazi German economy and the nature of his pursuits. This account of his actions, then, serves as a good instance of Nazi monetary and profession coverage and its reaction to celebration, enterprise, and bureaucratic impacts.
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Extra info for Nazi Steel: Freidrich Flick and German Expansion in Western Europe, 1940-1944
The ﬁlm-within-a-ﬁlm she is forced to watch functions as a pedagogical tactic that teaches her, and by extension the audience, a non-passive form of spectatorship. Part II investigates the development of radical projection after WWII, beginning in Chapter Six with Alain Resnais’ art-house ﬁ lm Hiroshima, mon amour (1959). Resnais’ earlier ﬁlm, Night and Fog (1955) is an important transitional point between Welles’ The Stranger and later Cold War ﬁlms. A documentary ﬁ lm about the Holocaust, it also incorporates a modernist style that transforms the lost possessions of the Holocaust victims into objects that resonate with a life and meaning of their own.
Combining theories of pervasive fascism with those of the perversion of fascist sexuality (which associated fascism with sadomasochism) it counters with an erotics of antifascism that embraces frequent orgasms and combats repression with openness and purity with free love. The ﬁlm uniquely expresses the real by focusing on the movements and meanings of the body in a state of orgasm, communicating that which is beyond language and which is not easily assimilated by mere observation. Chapter nine concludes the second section of the book, investigating antifascist radical transmission in the 1980s through the lens of four ﬁlms: Ken Loach’s Fatherland: Singing the Blues in Red (1986), Florian von Donnersmarck’s The Lives of Others (2006), Jessica Yu’s Protagonist (2007) and Ari Folman’s Waltz with Bashir (2008).
Antifascist resistance functioned on a number of levels, from organized, violent assault, to vehement critique, to those who covertly tried to satirize or mock fascist attitudes and policies. In Nazi Germany, even swing dancing and expressionist art became forms of dissent with serious consequences. Public criticism could result in imprisonment, as with German writer and Nazi Hans Grimm, who was told by Goebbels in 1939 that “writers would be put into concentration camps for four months; a second time over they would not be able to leave” (Kater, “Anti-fascist” 267).