Joseph Goebbels - Propaganda Minister

Propaganda Minister

“	Personally he likes nobody, is liked by nobody, and runs the most efficient Nazi department.	”
—Life, 28 March 1938

When Hitler was appointed Reich Chancellor of Germany on 30 January 1933, Goebbels was initially given no office: the coalition cabinet Hitler headed contained only a minority of Nazis as part of the deal he had negotiated with President Paul von Hindenburg and the conservative parties. However, as the propaganda head of the ruling party, a party with no great respect for the law, he immediately behaved as though he were in power. He commandeered the state radio to produce a live broadcast of the torchlight parade that celebrated Hitler’s assumption of office. On 13 March, Goebbels had his reward for his part in bringing the Nazis to power by being appointed Reich Minister of Public Enlightenment and Propaganda (Volksaufklärung und Propaganda), with a seat in the Cabinet.

The role of the new ministry, which took over palatial accommodation in the 18th-century Leopold Palace on Wilhelmstrasse, just across from Hitler’s offices in the Reich Chancellery, was to centralize Nazi control of all aspects of German cultural and intellectual life, particularly the press, radio and the visual and performing arts. On 1 May, Goebbels organised demonstrations and parades to mark the "Day of National Labour," which preceded the Nazi takeover and destruction of the German trade union movement. By 3 May, he was able to boast in his diary: "We are the masters of Germany." On 10 May, he supervised an even more symbolic event in the establishment of Nazi cultural power: the burning of up to 20,000 books by Jewish or anti-Nazi authors in the Opernplatz next to the university.

The hegemonic ambitions of the Propaganda Ministry were shown by the divisions Goebbels soon established: Press, radio, film, theatre, music, literature, and publishing. In each of these, a Reichskammer (Reich Chamber) was established, co-opting leading figures from the field (usually not known Nazis) to head each Chamber, and requiring them to supervise the purge of Jews, socialists and liberals, as well as practitioners of "degenerate" art forms such as abstract art and atonal music. The respected composer Richard Strauss, for example, became head of the Reich Music Chamber. Goebbels’ orders were backed by the threat of force. The many prominent Jews in the arts and the mass media emigrated in large numbers rather than risk the fists of the SA and the gates of the concentration camp, as did many socialists and liberals. Some non-Jewish anti-Nazis with good connections or international reputations survived until the mid-1930s, but most were forced out sooner or later.

Control of the arts and media was not just a matter of personnel. Soon the content of every newspaper, book, novel, play, film, broadcast and concert, from the level of nationally-known publishers and orchestras to local newspapers and village choirs, was subject to supervision by the Propaganda Ministry, although a process of self-censorship was soon effectively operating in all these fields, leaving the Ministry in Berlin free to concentrate on the most politically sensitive areas such as major newspapers and the state radio. In his 1933 speech, "Radio as the Eighth Great Power" he said:

We .. intend a principled transformation in the worldview of our entire society, a revolution of the greatest possible extent that will leave nothing out, changing the life of our nation in every regard ... It would not have been possible for us to take power or to use it in the ways we have without the radio and the airplane. It is no exaggeration to say that the German revolution, at least in the form it took, would have been impossible without the airplane and the radio.

No author could publish, no painter could exhibit, no singer could broadcast, no critic could criticize, unless they were a member of the appropriate Reich Chamber, and membership was conditional on good behavior. Goebbels could bribe as well as threaten: he secured a large budget for his Ministry, with which he was able to offer generous salaries and subsidies to those in the arts who co-operated with him. Most artists, theatres, and orchestras—after struggling to survive the Depression—found these inducements hard to refuse.

As one of the most highly educated members of the Nazi leadership, and the one with the most authentic pretensions to high culture, Goebbels was sensitive to charges that he was dragging German culture down to the level of mere propaganda. He responded by saying that the purpose of both art and propaganda was to bring about a spiritual mobilization of the German people.

Goebbels insisted that German high culture must be allowed to carry on, both for reasons of international prestige and to win the loyalty of the upper middle classes, who valued art forms such as opera and the symphony. He thus became to some extent the protector of the arts as well as their regulator. In this, he had the support of Hitler, a passionate devotee of Richard Wagner. But Goebbels always had to bow to Hitler’s views. Hitler loathed modernism of all kinds, and Goebbels (whose own tastes were sympathetic to modernism) was forced to acquiesce in imposing very traditionalist forms on the artistic and musical worlds. The music of Paul Hindemith, for example, was banned simply because Hitler did not like it.

Goebbels also resisted the complete Nazification of the arts because he knew that the masses must be allowed some respite from slogans and propaganda. He ensured that film studios such as UFA at Babelsberg near Berlin continued to produce a stream of comedies and light romances, which drew mass audiences to the cinema where they would also watch propaganda newsreels and Nazi epics. His abuse of his position as Propaganda Minister and the reputation that built up around his use of the casting couch was well known. Many actresses wrote later of how Goebbels had tried to lure them to his home. He acquired the nickname "Bock von Babelsberg" lit: "Babelsberg Stud". He resisted considerable pressure to ban all foreign films – helped by the fact that Hitler sometimes watched foreign films. For the same reason, Goebbels worked to bring culture to the masses – promoting the sale of cheap radios, organizing free concerts in factories, staging art exhibitions in small towns and establishing mobile cinemas to bring the movies to every village. All of this served short-term propaganda ends, but also served to reconcile the German people, particularly the working class, to the regime.

In October 1941 Goebbels organized the "Weimarer Dichtertreffen" (Weimar Convention of Poets) inviting collaborating writers from all of Europe. Under Goebbels auspices the participating members (e.g. Pierre Drieu La Rochelle and Robert Brasillach) founded the "Europäische Schriftstellervereinigung" (European Writers' League), officially in March 1942. Hans Carossa was president, Giovanni Papini vice president.