Published to great acclaim in French and now available for the first time in English, Elissa Mailänder’s groundbreaking book explores how the Nazi regime used sexuality to promote political loyalty, conformity, and cohesion among “ordinary” Germans. Beginning before the collapse of the Weimar Republic and continuing through the postwar American occupation of Germany, Mailänder’s study highlights the complex and conflicted ways that sexual “liberation,” repression, and violence were used and experienced in the everyday lives of citizens of the Reich. Her analysis draws on a vast array of sources, from legal dossiers to private photographs and letters, as well as public archives, magazines, and movies. Mailänder’s findings are often uncomfortable; she demonstrates, for example, that a significant number of women who were not persecuted by the regime saw shifts in gender and sexual norms as positive developments—ones that some felt were lost under the American occupation, with its own routines of military sexual exploitation. What emerges is a portrait of a regime that was less interested in repressing sexuality than in reinventing it according to a racist, elitist, and homophobic agenda.

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.

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.