Veit Harlan: The Life and Work of a Nazi Filmmaker
Veit Harlan (–) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Süss (Jew Suss, ), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust?
The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his
As Frank Noack points out in his author’s note to this extensive English-language biography of Harlan’s filmmaking career, „Veit Harlan: The Life and Work of a Nazi Filmmaker“ is not simply a translation of his earlier, German-language book „Veit Harlan: Des Teufels Regisseur“.1 If the latter book was written, as Noack puts it, „in protest against German film scholars who relied on outdated sources“ and as a „pro-Harlan polemics“ designed to answer „anti-Harlan polemics“ (p. vii), the newer book draws on a wider range of material, uses high-quality copies of Harlan films, and seeks to place discussion of Harlan’s films within the context of the New Film History movement.
In fact, Noack’s book is quite determinedly a book about Harlan’s films, rather than about the political and moral debates which have raged around his person. Not that these are not discussed. They are, and always in a balanced way – including Harlan’s alleged attack on Fritz Kortner with a riding whip in (p. 52), his interview with the „Völkischer Beobachter“ in (p. 67), the postwar trials launched against him, and his long-running dispute with Erich Lüth over the latter’s call for a boycott of Harlan’s film „
Veit Harlan: The Life and Work of a Nazi Filmmaker
Veit Harlan () was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Suss (Jew Suss, ), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust?The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his wor
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