Third Reich's Propaganda In Nazi Germany

The Third Reich’s propaganda strategy was effective by influencing German patriotism, inflicting chaos of hatred against the Jews, and encouraging the Hitler Myth the ideology of a charismatic superman and man of the people guiding the nation 's destiny. Propaganda was seen on an unprecedented scale throughout World War II, and has continued to form an important part of today’s modern warfare. It was a useful tool that was versatile and proved successfully to manipulate the thoughts and feelings for specific purposes of the war efforts. Propaganda served for several purposes during World War II, any explanation would not be complete without in depth research into the strategy that recognized Hitler as the supreme leader of the German nation.

His strong beliefs in the purity of the Aryan race were openly displayed throughout his policies regarding art and entertainment. Because of his strong beliefs the Third Reich forced strict policies on acceptable music, composers and performers, making extensive use of the music in the media in the public life of the individual citizen, and the Hitler Youth movement. Music played a prominent role in the rise of Nazi politics and culture in Germany and was used extensively by the party in propaganda and indoctrination of the entire country. To really understand what was going on in Adolf Hitler`s mind, one should look back into the his earlier years of his upbringing. Hitler’s views on music and art were all products created from life experiences, circumstances, and the influence of specific individuals. Following Hitler’s thoughts Musicologists played a big role in the shaping of a distinct German musical society aligning directly with the existing views of the collective Nazi Party. The Nazis regarded the German nation as being an intensely musically based nation contributing the extreme use of music in its public propaganda. This very clearly explains how Nazis wanted to implant their ideals into every aspect of German life. The musicologists were faced with the great task of determining the criteria for acceptable and pure German music. Lynn E. Moller stated “The use of music in such a format, often disguised as entertaining and recreational diversions, was capable of eliciting desired response from the people almost on cue.” Bringing the thoughts of German nationality and culture to become very closely tied with music and the Nazi’s knew that in order for their ideology to survive there could be no freedom of thought, even when it came to music. In short, the entire stage had to be set to influence the behaviors