Not only did the brutality indirectly caused by Goebbels evoke harsh criticism internationally, the mixed reaction in the German media showed a lack of broad-based support among Germans for antisemitism and violence. The film's initial German title is Der ewige Jude , the German term for the character of the " Wandering Jew " in medieval folklore. Name contains invalid characters.
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Unlike rats, however, the narrator continues, Jews have the uncanny ability to change their appearance and blend into their "human hosts. In this way, they spread disease, plague, leprosy, typhoid fever, cholera, dysentery, and so on.
They are cunning, cowardly and cruel and are found mostly in large packs. Among the animals, they represent the rudiment of an insidious, underground destruction — just like the Jews among human beings.
The things that are valued by the creative Aryan peoples have been reduced by the Jew to the level of a mere piece of merchandise, which he buys and sells but cannot produce himself. He leaves production to the labourers and peasants of the people upon whom he has imposed his presence.
The Jews are a race without farmers and without manual labourers, a race of parasites. By showing the way in which Jews allegedly insinuate themselves from small-scale to large-scale operations by preying on others, the film returns to its original image of the Jew concealing himself 'behind the mask of the civilised European'. The message of this part of the commentary is that Jews will always be Jews, and that the 'civilised European' Jew is only a guise for a new and more dangerous forms of parasitic exploitation.
Here in the second and third generation, the Aryanisation has reached its zenith. Therein lies the dreadful danger, for even these 'civilised' Jews remain foreign bodies in the organism of their hosts, no matter how much their outward appearance may correspond to that of their hosts.
They are an international power. Only one percent of the world's population, with the help of their capital they terrorize the world stock exchanges, world opinion, and world politics. The movie blamed Jews for inflation and unemployment in Germany. It charged that they had crept into all professions through usury , racketeering and crimes against German assets.
For the start of , out of one hundred prosecutors in Berlin 15 were Jews. Out of a hundred judges were 23 Jews. Out of a hundred lawyers 49 Jews. And out of every hundred of businessmen 60 Jews. The average wealth of Germans was marks each. The average wealth of each Jew amounted to 10, marks. The evidence for these assertions is unstated in the film. The occupational information is found in Germany's June census, which proves the claims made in the movie to be greatly exaggerated.
In , 5, Jewish doctors and 3, Jewish lawyers were practicing in Germany, corresponding to 11 percent of doctors and 16 percent of lawyers. In contrast, during the economic crisis between the end of World War I and the implementation of the Nuremberg Laws, Jews were disproportionately likely to be laid off from the labor market, to the point that 1 out of every 4 Jews had been laid off by The reference to average wealth probably used the wealth of the Jewish Rothschild family as the basis for its calculation.
The Rothschild banking family is still believed to have had the largest private fortune in the world during the 19th century, as well as the largest fortune in modern world history. The movie goes on to assert that: This Jewish influence is seen as well in the international language used by criminals see also Rotwelsch. The evidence for these blatant assertions is nowhere produced. Insofar as "organized crime" represents lawbreaking other than that forced by the Nuremberg Laws, it has not been corroborated by subsequent research.
The film also claims that the Jewish people have some kind of "genetic predisposition towards barter and haggling ", saying that "[Jewish people] rush into trade" because it is fitting "with their character and inclination", and that "For the Jew, there is but one object of value — money. How he earns it is a matter of complete indifference to him.
These children see no ideals before them like our own. The egoism of the individual is not used in the service of higher common goals. On the contrary, Jewish racial morality claims, in contrast to Aryan morality, that the unrestrained egoism of each Jew is a divine law. His religion makes a duty out of treachery and usury. Einstein's image was juxtaposed with a series of images about the supposed Jewish control of the pornography industry. Einstein was characterized as "the relativity Jew, who masks his hatred of Germany behind his obscure pseudo-sciences".
Charlie Chaplin was also included in this sequence and inaccurately identified as Jewish, possibly as a consequence of his role as the Jewish barber in The Great Dictator. The film includes two scenes from the Hollywood film The House of Rothschild The first clip shows Mayer Rothschild, a rich man, hiding money and putting on old, shabby clothes in order to fool a corrupt tax collector.
The clips were used without permission. The film's narrator asserts that: I must go the way I am driven. Who knows what is going on inside me?
How I must - not want, must! The film proceeds to suggest that pictorial art and music have degenerated under Jewish influence, with many spurious examples given. Degenerate art included works of abstract art as well as those from specific individuals such as George Grosz and Emil Nolde , while degenerate music included jazz and so-called Negermusik , although here the connection to Jewry is absent.
After showing how Jews have supposedly been responsible for the decline of Western music, science, art, and commerce, the film presents a scene of a cow being slaughtered for meat by a shochet Jewish ritual slaughterer.
The scene is prefaced by a warning similar to the one in Frankenstein , warning the squeamish about what is coming next. This long sequence, lasting several minutes, shows cows and sheep in their death throes as they bleed to death. The producers apparently filmed this scene because of Hitler's opposition to cruelty to animals.
He had banned kosher slaughter of animals in Germany and felt that such footage would shock the German public. They also reveal the character of a race, their blunt brutality hidden under the guise of religious worship. The film concludes with footage of Hitler's speech in the Reichstag in which he proclaims:. In and of itself, the movie did not have much impact on the German public. In contrast, Der ewige Jude 's only original footage was of Jews in the Polish ghetto and animated maps.
All the other footage consisted of stills and archive film clips. Some Germans were quoted as saying "We've already seen enough Jewish filth. We don't need to see any more. The film was chiefly screened by party supporters and Nazi organizations like the Hitler Youth and the SS.
Its themes and content made it a topic of discussion by a wider audience that never saw it. In , Fritz Hippler was tried for directing Der ewige Jude but was not found guilty. He claimed that Goebbels gave Hippler credit as a reward "for his excellent work in the newsreel department". In this interview he stated that he regretted being listed as the director of The Eternal Jew because it resulted in being interrogated by the Allies after the war.
He thought this was unfair because, in his opinion, he had nothing to do with the killing of Jews. In an interview shown in the German documentary series Holocaust , the year-old Hippler described the film as "the most disgraceful example of antisemitism. The public distribution and exhibition of the film is prohibited in Germany. The only exception is for use in college classrooms and other academic purposes; however, exhibitors must have formal education in "media science and the history of the Holocaust ",  and it can only be screened in a censored version with annotations.
The full version can be viewed on YouTube , either with English subtitles or dubbed into English. From Wikipedia, the free encyclopedia. German colonialism and its legacy , University of Michigan Press , , p. Film in the Third Reich: Marvin Perry, Frederick M. Hershel Edelheit, Abraham J.
A world in turmoil: Soviet Russia and Nazi Germany , I. Taubert, and produced the film The Eternal Jew. Nazi propaganda film of that summarized the whole Nazi rationale for the disposition against Jews.
University of California Press. Retrieved 11 November The Years of Extermination: Nazi Germany and the Jews, Retrieved 21 November Retrieved 13 November Photography and Eugenics, Retrieved 15 November Hitler's War of Extermination in the East. University Press of Kentucky. Retrieved 8 November Please try again later. Ads by Traffic Junky. Autoplay Next Video On Off.
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