MORESHET
44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83.
Shay Hazkani
Giesen, Nazi Propaganda Films, 129-30. Reuth, Goebbels, 262. Giesen, Nazi Propaganda Films, 129-30. Tegel, “‘The Demonic Effect’,” 216-41. Ibid., 220. Ibid., 221. Ibid., 227-29. Ibid. Ibid., 231. Møller and Cuthbert, “Der Ewige Jude,” 99. Reuth, Goebbels, 277. Gitlis, Hate Films, 146-47. Welch, Propaganda, 287. Ibid., 288. Gitlis, Hate Films, 155. Reuth, Goebbels, 277. Gitlis, Hate Films, 116. Ibid., 135. Ibid., 138. Ibid., 126. Ibid., 127. Ibid., 137. Ibid., 129. Ibid., 6. Ibid., 130. Ibid., 138. A cinematic effect that permits a gradual, almost seamless transition between one scene and another. Gitlis, Hate Films, 139. Ibid., 138. Ibid., 133. Ibid. Ibid., 134. Giessen, 141. Ilan Avisar, “Documentation and Shaping of Historical Consciousness in Propaganda Films” (in Hebrew), Zmanim 39-40 (1991): 41. Gitlis, Hate Films, 135. Ibid. Welch, Propaganda, 300. Møller and Cuthbert, “Der Ewige Jude,” 10, 12. Gitlis, Hate Films, 147-48. Ibid.
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