By Cora Sol Goldstein
Laying off new mild at the American crusade to democratize Western Germany after global struggle II, taking pictures the German Eye uncovers the significance of cultural coverage and visible propaganda to the U.S. occupation. Cora Sol Goldstein skillfully conjures up Germany’s political weather among 1945 and 1949, including an unforeseen size to the war of words among the us and the USSR. in this interval, the yankee occupiers actively vied with their Soviet opposite numbers for keep watch over of Germany’s visible tradition, deploying movie, images, and the fantastic arts whereas censoring photographs that contradicted their political messages. Goldstein unearths how this U.S. cultural coverage in Germany used to be formed via 3 significant components: festival with the USSR, worry of alienating German voters, and American family politics. Explaining how the americans used photographs to discredit the Nazis and, later, the Communists, she illuminates the instrumental position of visible tradition within the fight to seize German hearts and minds on the creation of the chilly war.
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Additional resources for Capturing the German Eye: American Visual Propaganda in Occupied Germany
Marshall announced the American plan to promote the economic recovery of Europe (including Germany) and the Soviet Union. The USSR and its ﬁrst European satellites, Poland and Czechoslovakia, rejected the Marshall Plan, denouncing it as an aggressive ploy to further the aims of American imperialism. In part as a reaction to global politics and in part as a response to local events, American propaganda in Germany changed. In Germany, Joint Chiefs of Staff Directive 1779 replaced JCS 1067 on July 15, 1947.
Sometimes Germans were described as automatons who followed Hitler blindly. Other times, distinctions were made between the Nazis and the “good” Germans. 24 Chapter One Even after the Red Army liberated Majdanek, on July 23, 1944, and Auschwitz-Birkenau, on January 27, 1945, few American or British journals showed the images recorded by the Soviet photographers and camera teams. Life and Illustrated London News did publish some photographs of Majdanek—building exteriors, Zyklon B containers, piles of passports, luggage locks, and shoes—but no images of victims or crematoria were released.
The civilians had to view the piles of corpses and to look into the open graves. They were taken through the barracks to witness the conditions in which human beings had been forced to live and made to examine the torture devices used by the SS. Joseph Pulitzer, in his booklet A Report to the American People, described the scene as it was portrayed in a documentary ﬁlm: At Buchenwald, site of one of the most horrifying of Nazi prisons and torture camps . . residents of the community are shown trudging along the highway toward the camp they have been ordered to inspect.
Capturing the German Eye: American Visual Propaganda in Occupied Germany by Cora Sol Goldstein