On January 30, 1933, hearing about the celebrations for Hitler’s assumption of power, Erich Ebermayer remarked bitterly in his diary, “We are the losers, definitely the losers.” Learning of the Nuremberg Laws in 1935, which made Jews non-citizens, he raged, “hate is sown a million-fold.” Yet in March 1938, he wept for joy at the Anschluss with Austria: “Not to want it just because it has been achieved by Hitler would be folly.”

In a masterful work, Peter Fritzsche deciphers the puzzle of Nazism’s ideological grip. Its basic appeal lay in the Volksgemeinschaft—a “people’s community” that appealed to Germans to be part of a great project to redress the wrongs of the Versailles treaty, make the country strong and vital, and rid the body politic of unhealthy elements. The goal was to create a new national and racial self-consciousness among Germans. For Germany to live, others—especially Jews—had to die. Diaries and letters reveal Germans’ fears, desires, and reservations, while showing how Nazi concepts saturated everyday life. Fritzsche examines the efforts of Germans to adjust to new racial identities, to believe in the necessity of war, to accept the dynamic of unconditional destruction—in short, to become Nazis.

Powerful and provocative, Life and Death in the Third Reich is a chilling portrait of how ideology takes hold.

    What was life like under the Third Reich? What went on between parents and children?  What were the prevailing attitudes about sex, morality, religion? How did workers perceive the effects of the New Order in the workplace? What were the cultural currents—in art, music, science, education, drama, and on the radio?
    Professor Mosse’s extensive analysis of Nazi culture—groundbreaking upon its original publication in 1966—is now offered to readers of a new generation. Selections from newspapers, novellas, plays, and diaries as well as the public pronouncements of Nazi leaders, churchmen, and professors describe National Socialism in practice and explore what it meant for the average German.
    By recapturing the texture of culture and thought under the Third Reich, Mosse’s work still resonates today—as a document of everyday life in one of history’s darkest eras and as a living memory that reminds us never to forget.

The Faustian bargain—in which an individual or group collaborates with an evil entity in order to obtain knowledge, power, or material gain—is perhaps best exemplified by the alliance between world-renowned human geneticists and the Nazi state. Under the swastika, German scientists descended into the moral abyss, perpetrating heinous medical crimes at Auschwitz and at euthanasia hospitals. But why did biomedical researchers accept such a bargain?

The Nazi Symbiosis offers a nuanced account of the myriad ways human heredity and Nazi politics reinforced each other before and during the Third Reich. Exploring the ethical and professional consequences for the scientists involved as well as the political ramifications for Nazi racial policies, Sheila Faith Weiss places genetics and eugenics in their larger international context. In questioning whether the motives that propelled German geneticists were different from the compromises that researchers from other countries and eras face, Weiss extends her argument into our modern moment, as we confront the promises and perils of genomic medicine today.

The Vatican’s dealings with the Weimar Republic and the Third Reich have long been swathed in myth and speculation. After almost seventy years, the crucial records for the years leading up to 1939 were finally opened to the public, revealing the bitter conflicts that raged behind the walls of the Holy See. Anti-Semites and philo-Semites, adroit diplomats and dogmatic fundamentalists, influential bishops and powerful cardinals argued passionately over the best way to contend with the intellectual and political currents of the modern age: liberalism, communism, fascism, and National Socialism. Hubert Wolf explains why a philo-Semitic association was dissolved even as anti-Semitism was condemned, how the Vatican concluded a concordat with the Third Reich in 1933, why Hitler’s Mein Kampf was never proscribed by the Church, and what factors surrounded the Pope’s silence on the persecution of the Jews.

In rich detail, Wolf presents astonishing findings from the recently opened Vatican archives—discoveries that clarify the relations between National Socialism and the Vatican. He illuminates the thinking of the popes, cardinals, and bishops who saw themselves in a historic struggle against evil. Never have the inner workings of the Vatican—its most important decisions and actions—been portrayed so fully and vividly.

Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years.

Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.