THE ETERNAL JEW: JEWISH VICTIMIZATION THROUGH MARGINALIZATION

This thesis examines the phenomenon of Jewish marginalization in Nazi Gem1any using the film The Eternal Jew as a representative example . Specifically this study identified sources of guilt in post World War I Gennan culture and the steps taken by the Nazi's to alleviate that guilt through victimization of the Jews. Results show that the Nazi's played upon cultural beliefs of German superiority and antiSemitism in order to create a public reality of the Jews as the Other. This disidentification of the Jews from the Gennan popu lation increased the effectiveness of the usage of the Jews as scapegoats for the Germans socio-economic and political inadequacies following World War I. The use of the scapegoat also served as part of an enactment of the drama and the cult of the kill. The Eternal Jew is significant because it in part prepared the German public for the Final Solution.


Introduction
Few events in history leave an impact on civilization like the Nazi Party did.
The Nazi movement sprang from hwnble beginnings and ended unparalleled in terms of mans humanity and vulgarity. This thesis will analyze the film Der Ewige Jude, as an artifact of one of the most successful propaganda campaigns in history. Nazi propaganda was a delicate blend of aesthetic and psychologica l qualities . Hitler ( 1971) realized the political and social potentia l that could be reached with an effective means of persuasion . "The purpose of propaganda is not to provide interesting distraction for blase young gentlemen, but to convince, and what I · mean is to convince the masses" (p. 185). The result of the Nazi's propaganda was one of the greatest instances of genocide in history and a second World War.
Der Ewige Jude is presented as a representative anecdote of Third Reich propaganda . It is the embodiment of the frustrations felt by many Germans and the careful manipulation of those frustrations to further the Nazi's ideological visions.
The themes and rhetorica l devices used in Der Ewige Jude are consistent with other film, print, radio and artistic products under the Third Reich.
In order to fully comprehend the effectiveness of Der Ewige Jude , a description of Kenneth Burke's Seven Interlocked Moments will be presented and used to analyze the film along with a socio-historical examination of society in post World War I Germany to explore the context in which the film takes place. Lastly, the usage of propaganda by the Germans will be defined and examined in order to explain 1 how Hitler was able to persuade many to be active paiiicipants in the eradication of the Jewish population in Eastern Europe .

Statement of the Problem
The Nazi Party killed over six million Jews during the Holocau st. The Nazi's instilled and exploited deep-seated notions of anti-Semitism in Germany for their ow~ politica l gains. Anti -Semitism can be defined as a racist attitude towards those of the Jewish faith and race, that they are inferior in some manner. The use of anti-Semitic propaganda served as an effective tool of marg inalization. The Nazi film, Der Ewige Jude (I'he Eternal Jew), shall be analyzed via a Burkean lens, specifically the Seven Interlocked Moments in order to describe the means by which the Jewish people were exploited as scapegoats.

Justification For and Significance of the Study
There is an important historical significance for an analysis of The Eternal Jew. The 20 th century has been host to an amalgam of human conflicts across the globe, one of which was the Holocaust. The Holocaust is not the only instance of genocide in the 20 th century, for there have been others such as Stalin's incursions , the Rwanda tragedy , Darfur, Bosnia-Czechoslovakia , and the Armenian genocide. The discourse surround ing the Holocaust invites studying so as to determine why and how this tragedy occurred and to minimize a reoccurrence in today's global society . In instances of genocide there is emphasis on the divisions of races , a dialectical distinction, meaning comparisons are made that are polar opposites in order to enhance one view over the other creating a sense of 'us' and ' them. ' 2 The historical topic of Jewish marginalization in Germany has always fascinated me. The fact that Hitler was able to reach the status of a demagogue and persuade many that genocide was warranted, begs the question how? As a student of rhetoric I am interested in the symbols and discourse used by Hitler and the Nazi's to address the Jewish issue . I wish to investigate how the Nazi's were able to effectively label the Jews as sub-human, insofar as that contributed to the Holocaust. I decided on the topic of victimization/scapegoating as a means of marginalization due to my interest in The Seven Interlocked Moments. In doing research for a propaganda class, I stumbled across a film entit led Der Ewige Jude, translated as The Eternal Jew. The film has been banned in most of Europe, which only served to make me want to watch it more. After viewing the film, it became obvious that the Nazi's relied on the rhetorical tool of scapegoating to maintain their power as the dominant force in Germany. To probe deeper, one needs to look at how the Nazi's utilized these rhetorica l tools to achieve their desired effects. The Seven Interlocked Moments of Burke's Dramati sm reveal rhetorical nuances, the language and methods used by the Nazi's to accomplish this feat.
Among the greatest achievements of Nazi propaganda were their films. "The Eternal Jew is an obscene propaganda compilation that manipulates and reinterprets an alternative reality" (Giesen, 2003, p. 137). Fritz Hippler's The Eternal Jew (l 940) attempts to dehumanize the Jewish race, portraying them as untermenschen, a race that is less than human and thus not deserving of humane treatment (Giesen,p. 138). The film engages in Burke's identification process. The Nazi's were attempting to create a shared meaning with their German viewers in order to show that the Jews were 3 different from them. This means that the audience will be influenced to hold a common meaning for something, in the case of The Eternal Jew, the Nazi's representation of what a Jewish individual embodies. This is accomplished as common stereotypes of Jews are repeated and exaggerated, such as their love of money, frugality, and the idea that they are non-productive members of society. The film states that "it is okay to dislike the Jews because they tend to cheat, swindle and steal from hard working Germans " (The Eternal Jew, 1940). A post World War I German who watches this film would relate to this statement and blame the Jews for the current economic and socio-political condition of Germany. Although the information is highly exaggerated, it still gives the average German an outlet for their pain and suffering, which many of them were seeking . This film gives the German public the ability to point to the Jews as the cause for the moral and economic woes since World War I. According to Burke, this outlet of emotion is necessary in order to reach a state of redemption. If the source of the guilt is not identified, due to a broken hierarchy, than the proper symbolic action cannot be taken to relieve the guilt.
The film plays upon popular German stereotypes of Jewish individuals in order to prepare the audience for the final scene, Hitler's call for the Final Solution. There are a myriad of filmatic and rhetorical techniques that Hippler uses to marginalize the Jewish race. One segment in particular juxtaposes two scenes in which the migration of the Jewish race across Europe to that of the rats spreading the Bubonic Plague. The viewer is invited to associate Jews with rats and to see Jews as rats through the use of the enthymeme. 4 McClure notes: We use the concept herein as meaning that there is an implicit and unexpressed character to Zelig that invites audiences to reach certain "invited" conclusions implic it in the antithetical juxtaposi tioning of content and form that are not explicit ly or overtly addressed in the film. (McClure et al., 2001, p.86) The audience is invited to perform deductive reasoning based on the stimuli that they have been presented with. When Hitler calls for the [need of the] extermination of the Jewish race , the general public is invited to think of the Final Solution as nothing more than the exterm ination of lower life forms, the elimination of disease ridden pests due to the imagery presented to them by the filmmakers . The use of the enthymeme by the Nazi's is carefully constructed to create a response with in the viewers in regards to their perceptions of the Jewish population in Germany .

Object iv es
A rhetorica l analysis yields qualitative results so I have several objectives to guide my study. First, I will look at language as a construct through which humans create mean ing, and how the language of The Eternal Jew constructs a rhetorical vision of the Jews compared to Germans.
A second objective will focus on a comparison between the two cultures. This will require an examination of the social order surrounding post World War I Germany . The economic and social turmoil follow ing World War I is the era that Hitler blames Germany ' s troubles on the Jews for in Mein Kampf "The real organizer of the revolution and its actual wirepuller, the internationa l Jew, had correctly estimated the situation" (Hitler, 1971, p. 523). Hitler believed that Jewish Marxists betrayed Germany by leading a revolution as Germany's soldiers were fighting in World War I. Germany was thrown into a state of turmoil, and Hitler believed that this was a calculated plot to overthrow Germany while it was defenseless. Therefore, I will examine how society is rhetorically structured during the Weimar Era, including Hitler's perspective as well as historical perspectives of the November Revolution of 1918 and what led to the revolution.
The third and fourth objective, require a detailed analysis of The Eternal Jew.
The third objective is to determine the rhetorical guilt enacted by the Nazi's. The Eternal Jew tapped into powerful thoughts of injustice and anger by the German people, so I will discuss rhetorical archetypes of that thought. The fourth objective will be to examine the language that the Germans used to blame the Jews for Germany's socio-pol itical and socio-econom ic problems, which reside in the context of victimization, or the shifting of blame, and the variety of negative identifications used to refer to the Jewish race. Finally I will analyze the activities that the Germans took to gain redemption to obtain catharsis and redemption.

Method
I will be using a Dramatistic or logological analysis, looking at the symbolic significance and meaning that words have, of Burke's theory in terms of the Seven Interlocked Moments as my primary method. A logological analysis looks at the function of language and its use to create meaning. The Seven Interlocked Moments trace a cycle that identifies a source of guilt and the usage of that guilt as a motivational factor that an individual takes to achieve a state of redemption, or 6 absence of guilt. Burke (1970), sununarizes his guilt -redemption cycle in the following poem: Here are the steps The seven moments are the negative, hierarchy (order), gu1lt, mortification, scapegoat, catharsis and redemption (Burke, 1970). Dramatism states that the defining characteristic of humans is our ability to use language, and through that, " somehow the essences of man, human relations, and ultimate reality are to be derived from the dramatistic study of languag e and the various functions it performs for man" 7 (Rueckert, 1982, p. 129). Language separates us from the natural world by creating a lens of value laden terms through which we interpret the world. Therefore it is through the analysis of the dialectic, a polar division, between the natural and the negative that human action can be explained. Simply put, words are symbolic representations that enact the course of the human drama. The human drama relates to the way that individuals interact with one another in a symbolic rather than instinctual manner. The Eternal Jew was a vehicle used for the victimage of the Jewish population by the Nazi's so there will be an emphasis on the steps of guilt, victimage and redemption in the analysis. However the context in which the other steps apply will be explained prior to the analysis.
The first step in the Seven Interlocked Moments, the negative, refers to the intangible realm of symbols and the power of language, "[It] is the very essence of language and the ability to use it is one of the distinguishing characteristics of man" (Rueckert, 1982, p. 130). Humans are able to construct meaning out of language because of the significance that is ascribed to words. "Every aspect of non-verbal, socio-political, and extra verbal reality is viewed by man through a fog of symbols, and human relations are at every point complicated by the linguistic factor that is intrinsic to the human mind" (Rueckert, 1982, p. 130). Certain symbols evoke emotions such as fear, anger, hatred, or happiness. It is important to note that an individual can be persuaded to action based on the significance of discourse.
The negative creates the structure of hierarchies and the notion of "thou shall nots." "Thou shall nots" are essentially rules and laws created by social hierarchies, which we construct socio-politico orders for humans to live. However, Burke believes that it is impossible for humans to follow every "thou shall not" and occasionally we will break them, resulting in guilt. Burke uses guilt as an all-encompassing term referring to anything that is wrong with the world. This is a broad definition, but necessarily so. Human s are complex beings, capable of a wide variety of emotions, and to describe guilt, as one specific emotion or psychic dis-ease would fail to capture a variety of reactions to a broken hierarchy.
The notion of hierarchy is important because it includes the notion of ascent and descent. As Rueckert explains: All hierarchies have inherent in them a progressive form which comes from the nature of language itself: the upward movement from lower to higher and downward movement from higher to lower. Thus, any hierarchy generates for those who participate in it what Burke calls ' hierarchic motive': on the one hand people are goaded by the desire to mount the hierarchy, either through action or possession; and on the other hand people are goaded by the threat of descending the hierarchy , again either by action or possession , but also by failure to act or inability to possess certain things . (p. 132) The very structure of hierarchies makes the creation of guilt inevitable. Individuals will strive to move up within a particular hierarchy and anything to prevent themselves from moving down. Griffin (1969) notes: For men are by nature divided; capable of rising, hence of falling; of accepting, consenting, obeying -hence ofrejecting, dissenting, disobeying; capable of loyalty and love, hence of alienation and Victimage, "the perversions of love (forms of ill-will towards one' s neighbor " -the malevolent attitudes of pride, envy, wrath, sloth, avarice, gluttony, lust; attitudes, ultimately, in the order of murder. (p. 459) Griffin argues that a dialectic inherent in humanity causes the fall from Order.
Hierarchies, as a form of Order, purposefully create a system of laws, rules and expectations that are imposed upon society. A dialectic emerges in which these hierarchies inadvertently foster feelings of want, desire, dissatisfaction, and the potential for dis-order. When the hierarchy is broken, or an individual is dissatisfied with their current hierarchical standing than guilt typically ensues.
There are two forms of victimage that an individual can take in order to relieve the guilt. One such way is through mortification. "Mainly we have in mind the Grand Meaning, subjection of the passions and appetites, by penance, abstinence , or painful severities inflicted upon the body" (Burke, 1970, p. 190). In short, to say yes to Order.
Thus the individual takes out their feelings of guilt upon themselves as a means of punishment to alleviate their guilt. The individual follows the notion of Order created by the hierarchy and punishes himself or herself for violations. If the response to guilt is placed on someone else, then this is known as scapegoating. Scapegoating accounts for the act of "seeking a sacrificial vessel upon which he can vent, as from without , a turmoil that is actually within" (Burke, 1970, p. 191 ). Instead of causing himself or herself harm, the individual takes it upon himself or herself to punish others in order to realign the broken hierarchy. Victimage can be seen as a positive or a negative symbolic representation of guilt. "The constructive kind of victimage come s to a head in religion and art; the destructive kind comes to a head in war-legalized mass victimage-crime, and various kinds of 'justified' homicide" (Rueckert, 1980, p. 151  In order to relieve this feeling of guilt, the individual has to engage in a symbolic action that represents the release of guilt. This process is known as catharsis. Once the guilt is released then the individual has reached a state of redemption. It is important to note that humans are constantly engaging in this cycle, creating multiple sources of guilt at the same time. As they reach a state of redemption for one source of guilt, they may be victimizing an individual for another source.

Review of Lite rature
There has been a considerable amount of research and analysis on the rhetorical significance of the National Socialist movement (Burke, 1989;Smith, 1996;Solomon, 1994;Bosmajian, 1960;Bosmajian, 1968;Bytwerk, 1975;Bytwerk, 2005, Murray, 2003Delia, 1971). One of the more prominent analyses is a "Rh etorical Analysis: The Rhetoric of Hitler 's Battle" (Burke, 1989). In this piece, the oratorical style of Hitler is analyzed as well as the religious like structure he would use to frame reality. Burke identified Hitler 's enactment of drama as a means to an end, a way for Germany to recla im their lost glory.
The primary historical text used was Joachim Fest's Hitler (1974

History of Germany Between Wars
The marginalization of the Jewish race under a National Socialist regime gradually occurred over a span of 25 years. Hitler began to write Mein Kampf while imprisoned after a failed political coup in 1923 . In the book he blatantly blames the Jews for the social, economic and political instability Germany was experiencing after World War I. The Treaty of Versaille s was puniti ve towards Germany, making them pay " 1,000,000,000 marks annually and increasing to 2,500 ,000 ,000 mark s at the end of five years," (Hitler, 1971, p. 236) for war reparation s. After the war Germany entered a long drawn out social and political civil struggle , an economic depression , and the war reparations furthered the country ' s economic and social turmoil. Hitler unified defeated Germany by giving them an outlet for their pain , frustration, and economic woes. Through the use of a scapegoat, he singled out the Jews in a mal icious manne r in order to achieve the redemption and unification of the Germans . Herf (2006)  The German perspective towards Jewish individuals was radically different from the rest of the world. Hitler frequently stated publically that the Jews were the cause of Germany's depression, that they were responsib le for the Bolshevik revo lution, and that they were evil schemers plotting against the Germans. The German public was lead to believe that there was a worldwide Jewish conspiracy to dominate the realms of the economy and politics.
In reviewing the Nazi discourse surrounding the Jews and Germans, I noticed some inconsistencies in what Hitler was saying. In Mein Kamp/(197 1), Hitler mentions publicl y that the German army is superior: The foe did not consist of cowards either; he too knew how to die. His number from the first day was greater than that of the German army, for he could draw on the technical armament and the arsenals of the whole wor ld; hence the German victories, won for four years against a whole world, must regardless of all heroic courage and 'organization,' be attributed solely to superior leadership, and this is a fact which cannot be denied out of existence. The organization and leadership of the German army were the mightiest that the earth had ever seen . the significance of nationality and race, and thereby withdraws from humanity the premise of its existence and its culture. As a foundation of the universe, this doctrine would bring about the end of any order intellectually conceivable to man. And as, in this greatest of all recognizable organisms, the result of an application of such a law could only be chaos, on earth it could only be destruction for the inhabitants of this planet. (Hitler, 1970, p. 65) It is obvious that Hitle r's claims serve to incite his audi ence, rather then provide them with a sense of rationality. If one race is supposedly far superior to the other, then the inferior race should not pose a threat. What is it about the Jewish race that instilled this sense of fear in Germans?
Due to the social construction of the Jews, the rhetoric surrounding the Jewish threat became justifiable in the eyes of German citizens. Once such event that exploited the public imagination of the Jew is the myth of the Stab in the Back.  it had at any rate missed the chance to define itself by any concrete act.
Abruptly, it had been cheated of its storming of the Bastille and its Boston Tea The Revolution, which Hitler used as fulcrum to arouse anger in the Germans, never happened. The German army did not lose the war due to Jewish uprisings, they conceded defeat. The German High Command added to this deception by keeping the true nature of the German loss a secret.
But since the High Command itself had staked everything on the radical alternat ive of victory or defeat, it was obliged by its own premise to admit defeat, since victory had not been won. Instead, it continued its deceptions into September-purportedly in order not to dishearten the people. It took into accou nt the obvio us hopeless· ness of the situation only by sounding its claims of German invulnerability in a somewhat muted key. (Fest, 1974, p. 76) Historical accounts disprove the socia l reality constructed by Hitler. In order to prevent the eradication of the German army the High Command conceded to defeat.
Therefore Germany had already lost the war prior to the Revolut ion and the social changes were a result of pressure put forth by President Wilson as a stipulation of Germany's defeat. With the transportation and communication abilities available at that time it took a month for the Germans to withdraw their troops . Hitler omits this 20 information, thus distorting the truth, in his attempts to create a division between Germans and Jews.

a broken hierarchy.
Germany went from "a place in the sun," among the great European powers, to a bitter military defeat , to a long drawn out civil disruption of the Weimar Years, to complete economic ruin during the Great Depression. The cultur ally held beliefs of the glory of the Germanic Empire date prior to Hitler's rise to power. The notion that Germany has "a place in the sun," is from a speech by Bernhard von Bulow in which he uses the metaphor to describe the German naval power and colonialism during the Second Reich (Holmes, 2004, pp. 27-28). This phrase then became associated with a sense of German entitlement among the German people as a leading power in civilization .
The hierarchy that The Eternal Jew promotes is a return to German sociopolitical superiority, Germany's restoration to a "place in the sun," with the rest of the European powers. In Mein Kampf, Hitler recalls the glory of Germany before its defeat during World War I, This unique birth and baptism of fire in themselves surrounded the Reich with a halo of historic glory such as only the oldest states-and they but seldomcould boast .... So deep is the downfall of the Reich and the German people that everyone, as though seized by dizziness , seems to have lost feeling and consciousness; people can scarcely remember the former height , so dreamlike and unreal do the old greatness and glory seem compared to our present day misery. (Hitler, 1971, p. 226) 21 The terminol ogy that Hitler uses in describing the fall of German greatness is as important as the fall itself. Hitler refers to prior German civilization as having a halo of glory . This creates the notion that Germany is graced by divine presence and that God coincides with Aryan superiority. Using religion is an important tool in establishing this hierarch y. Legitima tion through religious discourse such as 'baptism' and ' halo' serve to strengthen the vision constructed by the National Socialists.
Alluding that God has ordained that Aryans are destined for greatness, such as they had during the Second Reich under Wilhelm I, would strengthen support for Hitler.
Religion is a persuasive tool because many German citizens had been indoctrinated in the belief that there is a God since they were children. Hitler uses this belief to convince the German people to believe in their own super iority and destiny.
Once this superiority has been undone, Hitler then talks about the fall into 'present day misery.' In doing so he is referring to what Burk e calls a 'thou shall not. ' A thou shall no' t, a reference taken from religious discourse is when the hierarchy has been broken, somethi ng that should not happen naturall y (Burke, 1985, p. 89). The "lost" war symbol ized the failure of the Germans in maintaining their "place in the sun", thus breaking their socio-political hierarch y.

22
Culminations of various definitions of propaganda are needed to accurately represent the rhetorical methods used by the Nazi regime. Ellul states that, Propaganda is a set of methods employed by an organized group that wants to bring along the active or passive participation in its actions of a mass of individua ls, psychologically unified through psychological manipulations and incorporated in an organization . (Ellul, 1973, p. 61) This is a useful definition of socio logical propaganda, but Ellul neglects to incorporate the notion that propaganda includes systematically distorted communication (Habermas, 1970, pp . 205 -218). This means that what is being relayed from those in power , to the masses, is not accurate information. This could mean that information is being falsified or is intentiona lly being withheld to promote a specific viewpoint.
Propaganda also occurs on a large scale, "Moreover, the individual is considered part of the mass and included in it, because in that way his psychic defenses are weakened, his reactions are easier to provoke ... (Ellul, 1973, p. 7). Ellul is describing the notion of groupthink, which is the phenomenon that occurs when an individual stops thinking autonomously and begins to think as part of a collective, like fans at sporting events.
An individual engaged in mass demonstration tends to agree with the trend of the group due to the emotional and psychological appeal of the propaganda (Hit ler, 1971, pp. 179-181).
It is necessary to enhance Ellul 's definition in order to be more salient in describing Nazi propaganda.
Propaganda is a sustained, systematically distorted, communication campaign.
It is planned across multiplefostances and media platforms and/or outlets, that 23 is disseminated on a large scale, to a mass audience , to achieve political, economic, sociological or psychological purposes, and is an exercise of power.
(K. McClure, lecture, February 2, 2009) This definition adopts the viewpo int that propaganda is not a lie but a construction and distortion of reality. Since Burke posits that there are many truths, as do most postmodemists, then Naz i propaganda constructed and exploited the commonly held beliefs of Germans at the time that promoted an anti-Semitic belief regarding the political , social, and economic burdens experienced by many Germans after the defeat of World War I.
A second theme that is consistent with this revised definition of propaganda is that it occurs over time on a wide scale. This is evident throu ghout the Nazi regime when the Nazi ' s either owned or controlled the content on all of the radio stations, newspapers and theaters. The media that the German public was getting was either created or censored by the Naz i's . Therefore, for the German people, the official versions of events were constructed by the Naz i's . The public was very limited in their exposure to facts or dissenting opinions.
According to Ellul a majority of Nazi propaganda was known as agitation propaganda . This means that, "Hitler could work his sweeping social and economic transformat ions only by constant agitation , by overexcitement , by straining energies to the utmost" (Ellul, 1973, p. 71). Naz i propaganda was often aggressive and anti-Semitic in nature. It played off of people's emotions , most notably, racial discrimination, in order to get the Germans angry over a topic. This method of propaganda was able to unify the state of Germany by creating a divide between Germans and Jews , as an outlet for their anger, thus creating a locus for the Germans ' frustrations.
This type of propaganda can also be described as engendering -cohesion propaganda, [ which is similar to the merger -divis ion-merger process of the scapegoat as described by Burke]. Engendering propaganda is designed to create a schism within the population. This method assumes that the populat ion was originally unified at one point. The Nazi's determined that a separation of the population would be more strategic for their purposes, pitting one segment against the other. Once that schism had been created, the cohesion propaganda was used to unite the Germans against the Jews and external "enemies" in order to fulfill the State's wishes.

hitler 's views on propaganda.
The Nazi's honed their propaganda use to the extent that it became an art form.
The Ministry of Propaganda and Pub lic Enlightenment headed by Dr. Joseph Goebbels, micromanaged and censored every form of media so that they would be consistent with Naz i ideology . The films and newsreels produced by the Third Reich are a culmination of visual and auditory messages designed to sustain anti-Semitic behav ior with in the German community. Hitler states that, The function of propaganda is, for example, not to weight and ponder the rights of different people , but exclusively to emphasize the one right which it has set out to argue for. Its task is not to make an objective study of the truth, in so far as it favors the enemy , and then set it before the masses with academic fairness; its task is to serve our own right, always and unflinchingly. (p. 182)

25
Hitler's views towards the use and effectiveness of propaganda in politics are made quite clear in Mein Kampf In order to obtain power and influence in Germany, Hitler realized he had to get the masses to think and act a certain way. Through the use of propaganda Hitler would be able to give the Germans a sense of racial superiority and nationalistic fervor. One example of this is through the implementation of the swastika as one of the representative symbols of the Nazi Party. The swastika was not chosen arbitrarily, but rather after careful deliberation of what would best exemplify Nazi ideology. In the volkisch movement, the swastika represented anti-Semitism and German racial superiority. The constant inundation of this meaningful symbol to German citizens would ignite their own deep-rooted feelings of anti-Semitism, which can be traced back to a romanticized Germanic ideology, and as a result feelings of cultural superiority. It is these two emotions that Hitler would pull on, like the strings of a marionette, in order to get the Germans to follow ideas for Germany's future.
an overview of Nazi propaganda.
The information that the Nazi's used was not always accurate. Since they controlled information at the source, it would be highly unlikely that German citizens would realize the discrepancies that were being espoused. The Nazi's rewrote history to fit their goals and absolute control over the media. "By 1945, the Nazi-controlled press accounted for 82.5 percent of the total circulation ... the 2,200 newspapers that were still privately owned were nonetheless subject to a detailed system of orders from the political authorities" (Herf, 2006, p. 19). The Nazi's controlled every aspect of the media, from films, the press, even the arts. German citizens only had access to anti-Semitic propaganda or pro-German propaganda, which invited a vision of reality that reflected what the Nazi's constructed, the result of total propaganda (Ellul, 1973, pp. 9-10). The Eternal Jew was but one element of an intricate propaganda system that the Nazi's utilized in order to control the masses. showing commercial films, free from any political tendency" (Zeman , 1973, p. 46 Jewish man as a rapist. These films as well as the various other 1,300 films (Herzstein, 1978, p. 272) overseen by the Nazi Party would be shown in cinemas, theatres, schoolhouses, or anywhere else where a crowd could gather to watch a projection . The distribution of a produced film to the cinemas was quite efficient due to the centralized structure implemented by Goebbels and his Ministry. The state had complete control over when and where a film would be shown (Herzstein, 1978, p. 265).
In order to sustain the schism between the Germans and Jewish popul ation, the Nazi's Ministry of Public Enlightenment and Propaganda regularl y produced films for the public such as those mentioned above. The stereotypes of the Jews portra yed are exaggerated, such as their love of money , frugality, and the idea that they are non-  (Habermas, 1974, pp. 49-55).
However, once the Nazi's controlled the media, it could promote the state's wants 28 disguised as public opinion. This abuse of power allows the state to control public opinion rather than represent it. Instead of the public voicing their opinion in the public sphere, the state is releasing information that is in accordance with its ideologies to shape public opinion. As Zeman notes: Some time before ... the law for the establishment of a 'Provisional Film Chamber ' was published ... The film companies began to be heavily subsidized from official funds, and then one after the other were taken over by the state: the largest ofthem-Hugenberg 's UFA company-was acquired in 193 7. In less than 5 years the film department of the Ministry of Propaganda acquired a monopoly in film production; this policy was accompanied by the gradual elimination of foreign competition for the favours of the German This quote demonstrates the saliency of the adopted definition of propaganda because the Nazi's began to eliminate private interests in the film industry. Every German film company became state controlled, and thus produced films that were only beneficial to the state 's interests. In order to eliminate a free and open exchange of ideas, Goebbels banned foreign films from playing in German cinemas.

The Eternal Jew as Representative Anecdotes
Films such as The Eternal Jew were effective in the dissemination of Nazi ideology becaus e the subject of the propaganda, the Jews, embodied the shortcomings of the German people. The Jews became a vessel in which the Germans could place their failures , inadequacies, fears, frustrations and guilt. Burke (1970) states: Nazism provides the most drastically obvious instance of the ways in which such 'cleansing' operates, by an ideology depicting a 'perfect' victim in the guise of a 'total' enemy ( a scheme involving redemption both by blood and by power). (p. 224) Thus, for the Germans to cleanse themselves of guilt they first had to symbolically represent it in a tangible form in society. Anecdotes were used to spread Nazi values and beliefs about the Jews to the general public. Various forms of propaganda and advertising techniques, disguised as news or films aided in the distribution of these anecdotes.
The volkisch movement was a nationalistic idea embodying social, political and geographica l visions beginning around 1875 (Hitler 1971, 13). Kallis (2005) identifies three primary concepts to the volkisch movement: The first (internal) was the societal, a discourse of domestic regeneration , unity and stability, based on an integral concept of national community, the marginalization of the internal 'foes' (Volksfeindee.g. Jews, socialists, other minority non -conformist groups etc.) and the re-integration of the whole nation in one all embracing social organism with a single will and conception of national interest. (p. 65) The volkisch movement embodies the notion of German racial supremacy. The idea is to unite German regions, cities and former territories under one flag. This society would be homogenously constructed with the removal of non-Aryan peoples. Anti-Semitism and racial superiority are cultura l beliefs that many Germans held prior to Hitler. Nazi ideology was effective because it identified with and played upon these Germanic cultural roots.
The second concept of the volkish movement that Kallis identifies is, "The territorial, emanating from an alleged mystic union between the nation and its soil, and aspiring to bring under the control of the rejuvenated nation-state those lands that formed part of an imaginary territorial fatherland" (p. 65). The acquisition of land to (re)claim in the name of Germany would physically unify peoples who are from Germanic descent. This aided Hitler in the years leading up to World War II because he wou ld use this notion as an excuse to annex and invade territories. Instead of inciting war, Hitler was merely reacquiring lands that once belonged to Germany.
The last concept Kallis notes is: The third (universal) aspect was the missionary, referring to the international role that the nation ascribed to itself, its cultura l and historic mission vis-a-vis the European civilization and its place in the new circumstances produced by the regeneration of the nationa l·community and its wider consequences. (p. 65) The volkisch sense of entitlement is reminiscent of Bernhard von Bulow ' s notion that Germany deserves its "place in the sun." This is another concept that Nazi ideology promoted and manipulat ed in order to achieve their goals. Germans truly believed in the superiority of their society and culture as a milestone of civilization. The vdlkisch movement encompassed all aspects of German society from music and the arts to politics. This caused the Germans to have a sense of entitlement and ethnocentric view in regard s to the world around them.

Kristallnacht
Although the Final Solution was not enacted until 1941, the first antagonized physical demonstrations against the Jews occurred on November 9 and 10, 1939. The Eternal Jew played in the time period between these two events. Kristallnacht, or the Night of Broken Glass, was sparked by the assassination of Third Secretary Ernst vom Rath by Hersche l Grynszpan (Bard, 2008, pp. 3-4). Documents show that while the Nazi's did not publicly support this anti-Jewish pogrom, they encouraged action to be taken against the Jewish popu lation. The following order from Heinrich Muller, the head of the Gestapo, details the Nazi's knowledge and involvement of what occurred.
Actions against Jews, especially their synagogues, will take place throughout the Reich shortly . They are not to be interfered with .. . Preparations are to be made for the arrest of about 20,000 to 30,000 Jews. Above all well-to-do Jews are to be selected . (Bard, 2008, p. 201) Reinhard Heydrich, Heinric h Himmler's deputy dispatched his own set of orders as well. An excerpt of his orders are as follows: Only such measures are to be taken as do not endanger German lives or property (i.e., synagogues are to be burned down only where there is no danger of fire in neighboring buildings ... Places of business and apartments belonging to Jews may be destroyed ... As soon as the course of events during the night permits the release of the offic ials required, as many Jews in all districts-espec ially the rich-as can be accommodated in existing prisons are to be arrested. (Bard, 2008, pp. 203 -204) 32 Both of these orders show the willingness of the government to promote racial wa1fare against the Jewish community. They wanted and encouraged the Jews to be hurt or killed in the riots, a precursor to the genocide the Naz i's would commit two years later.
It is evident that through the distribution of selective information the Nazi's were able to maintain their position of power in society . Any dissenting opinion to Nazi ideology was silenced in the mainstream media. The information that was readily available to the public promoted an anti-Semitic, Nationa l Socialist favored interpretation that enhanced the legitimacy of the government's position.

Description of the Film
The

Transcript of the Film
The following is a transcript of The Eternal Jew compiled from a subtitled version. The text being analyzed is in English and not is not in its original, intended language, which was German. The analysis is valid because the language used is consistent with translations of texts of a similar nature , such as Mein Kampf The civilized Jews we know in Germany give us but an incomplete picture of their true racial character. This film shows actual shots of the Polish ghettos . It shows us the Jews as they really look before concealing themselves behind the mask of civilized Europeans.
Narrator: The campaign in Poland gave us an opportunity to really get to know the Jewish people. Nearly four million Jews live here in Poland, but they won ' t be found among the rural population. Nor have they suffered from the chaos of war, as has the native Pole . They sat it out indifferently in the gloomy streets of the Polish ghetto.
Yet within an hour after the German occupation they were back in business. We Narrator: One might want to regard these haggling children as a sign of great poverty.
But watch them awhile, and it becomes clear that they' re proud to act as their grownups do. These young people don't have the idealism that ours do. With them, the egoism of the individual is not in the service of higher common goals. Instead, Jewish morality, in crass contradiction of the Aryan concept of ethics, proclaims the unrestrained egoism of every Jew to be divine law. His religion makes cheating and usury a duty. In the fifth book of Moses for example, it is stated that a non-Jew thou may loan to upon usury but not they brother, that the Lord may bless thee in all thy dealings. For the Jews, then, doing business is something holy . This is totally incomprehensible to non-Jews. Aryan man attaches a sense of worth to every activity.
He wants to create something worthwhile, food or clothing, houses or machines, works of art or anything else of value to everyone. He' s ruled by the feeling of being responsible for his achievements. That's why they try to escape to rich lands with rich people. They need other peoples, because they need the wares with which to do business. What creative Aryan peoples find of value has been reduced by the Jew to mere merchandise . He buy's and sells, but produces nothing. The production he leaves to the workers and farmers of the host nation.
Narrator: The Jews are a·people without farmers or workers, a race of parasites.
Wherever the body of a nation shows a wound, they anchor themselves and feed on the decaying organism. They make business out of the sickness of the nations , and Hebrew ancestors were already wandering. Out of the Land of Two Rivers, they wandered along the sea to Egypt, where they ran a lucrative grain business for a while.
When the country farmers and other Egyptians rose against the foreign usurers and speculators they wandered once more, and plundered their way to the promised land.
They settled there, mercilessly looting the culturally superior rightful inhabitants.
Here in the course of centuries, from the Oriental , Far Eastern racial mixture with Negroid admixture , the ultimate mongrelized Jews developed. Foreign from us Europeans, born of totally different racial elements, they differ from us in body and above all in soul. We probably would never have been bothered by them had they  The most-common expressions in the jargon of international gangsters and criminals stem from Hebrew and Yiddish words. These physiognomies immediately refute the liberal theories about the equality of all who bear a human countenance. The Jews alter their outward appearance, when they leave their Polish haunts for the rich world.
The hair , beard, skullcap, and caftan make the Eastern Jew recognizable t9 everyone.
Should he remove them , only sharp-eyed people can spot his racial origins. An essential trait of the Jew is that he always tries to hide his origin when among non-   HITLER: There's plent y of living space in the world. But the notion that the Jewish people were chosen by God to live off the productivity of other peoples will finally have to go. Jews will just have to get used to the idea of performing some respectab le, construct ive activity as other people do or sooner or later they'll face trouble they never dreamed of. Should the internat ional finance Jews inside and outside Europe push people into another world war, the result will not be a victory of Jewry, but the destruction of the Jewish race in Europe.

Jews. A bunch of Polish Jews still wearing caftans and now in Western
NARRATOR: The eternal law of nature, keeping one's race pure, is the legacy which the Natio nal Socialist movement leaves to the German nation forever. In this spirit, the unified German people march on into the future.

Analysis of the Film
This film serves as a vehicle for the divisions necessary for the victimage process that the Nazi's inflicted against the Jews. Since this is an organic, textual Hitler's anger reflected that of the Germans, which furthered the divide of anti-Semitism. According to Ellul, "Hatred is probably the most spontaneous and common sentiment; it consists of attributing one's misfortunes and sins to another, who must be killed in order to assure the disappearance of those misfortunes and sins" (Ellul, 1973, p.73). This is similar to the victimization process described by Burke in which a symbolic vessel is needed to house the ill feelings. Finally, factoids are "an assertion of fact that is not backed up by evidence, usually because the fact is false or because evidence in support of the assertion cannot be obtained" (Pratkanis, et al., 2001, p. 104). Factoids can range from rumors, snippets of news, to racial stereotypes. The Nazi's tended to use factoids in the form of negative Jewish stereotypes prominently throughout the media . Certain factoids, endless ly repeated, functioned to create the illusion of a Jewish threat to German citizens.
One important function of The Eternal Jew is the employment of the problemsolution technique coupled with hatred as a motivational tool. The film spends the better portion of an hour degrading and dehumanizing the Jewish race, at one point stating their equivale nce to a rat, "Parallel to thes· e Jewish wanderi ngs throughout the word is the migration of a similarly restless animal; the rat" (The Eternal Jew, 1940).
The Jews are portrayed overall as a festering sickness upon German society, "The Jews are a people without farmers or workers, a race of parasites" (The Eternal Jew, 1940). The Germans are depicted as contributing to society in a positive manner while the Jews are reaping the benefits from the Germans' hard work. This is to inspire anti-Semitic behavior that Hitler could direct towards his own personal goals.
One year after this film was released , the Nazi's began their Final Solution policy to the "Jewish Question," that it had been constructed in Germany for years.
This act of mass genocide is an aesthetic blend of using hate as a motivator for the problem -solution technique. Hatred is a powerful emotion that can drive individuals to kill in order to solve their societal problems. The solution proposed in the final scene of this piece of Naz i propaganda was the extermination of the Jewi sh race in order to sustain German life and superiority. The sociological implications of this film have reverberated throughout history, displaying the easy appeal of distorted symbol use and hatred.
The granfalloon technique serves to increase the identificati on between Naz i ideology and the German people. Pratkanis (200 1) states:

52
Differences between groups are exaggerated, whereas similarities among members of the granfalloon are emphasized in the secure knowledge that "this is what our type does ." One serious consequence is that out-group members are dehumanized; they are represented in our mind by a simple, often derogatory label-gook, Jap, redneck southerne r, kike, nigger. .. It is a lot easier to abuse an abstraction. Second, social groups are a source of self-esteem and pride ... To obtain the self-esteem the group has to offer; member s come to defend the group and adopt its symbols, rituals, and beliefs. (p. 217) The granfalloon technique is a psychological process in which humans tend to like and agree with individuals who share the same views as they do. This also means that individuals who have different views will be viewed as disagreeable or different. The anecdotes that the Nazi's used promoted a sense of German racial unity by playing upon cultural belief s, such as anti-Semitism. This group then rallied around certain symbols such as the swastika and eagle, which were imbued with the values of Nazi ideology. Films such as Triumph of the Will, and The Eternal Jew showed large groups of German citizens in agreement with those ideals. A spiral of silence then ensued in which very few Germans spoke out against the Naz i's because they did not want to be outcast from the collective .
As an implementation of the granfalloon technique, anti-Semitic propaganda such as The Eternal Jew were put into production . This propaganda unites post World War I Germans together against the Jewish population. Much of the Nazi anti-Semitic propaganda displays a Zionist conspiracy, that Jews have control over the economic and social policies of the world. German propaganda then highlights the differences between the cultures of Jews and Germans though the use of a negative and positive perspective. Due to these differences, Germans then are invited to apply stereotypical labels to the Jews that change the discourse surrounding a Jewish individual. Thus the majority German population will consider a small minority population guilty, which serves to bolster the self esteem of individuals who believe that Jews were the reason for all society's misgivings towards the Germans .

guilt.
The film The Eternal Jew starts off with a title card stating, The civilized Jews we know in Germany give us but an incomplete picture of their true racial character. This film shows actual shots of the Polish ghettos .
It shows us the Jews as they really look before concealing themselve s behind the mask of civilized Europeans. (The Eternal Jew , 1940) This statement reflects Burke's position that division is essential to victimage. Upon a closer look at the language used in this statement, the audience is presented with words that play upon the cultural belief of Jews as deceivers. Words such as ' true racial character' , 'Jews as they really look' , and 'concealing themsel ves .' The advent of language brought with it the expression of ideas, one of which was the ability to promote anti-Semitism. The words that are used in this djsclaimer do not portray Jewish behavior as positive . It begins with the notion that Germans do not have all the facts when it comes to the Jewi sh people as a race, they too are deceptive. Using the word 'true ' implies that the Jewish race is hiding something from the Germans. In conjunction with the word 'civ ilized', the disclaimer infers that the Jewish character is nefarious. "The civilized Jews that Germans do know of, are not an honest or accurate representati on of the Jewish race." The second aspect refers to the use of the phrase, 'concealing themselves.' This coincides with the first point, in that the Jews are hiding something from the Germans, which builds upon the belief of a Jewish conspiracy that the film emphasizes later on.
There were two general feelings of guilt that resulted from the broken hierarchy. The first and most obvious one was that of economic despair. Having lost the war, Germany had to agree to severely punitive measures , the Treaty of Versailles.
The amount of money that Germany had to pay caused the infrastructure to collapse and brought the state into an economic depression even before 1929.
The average income for a German was 810 marks , the average income for a Jew was 10,000 inarks. While millions of Germans fell into unemployment and poverty, immigrant Jews acquired fantastic riches in a few years no through hone st work, but through usury, swindling and fraud. (The Eternal Jew, 1940) This factoid is asserting that while the average German was able to barely make ends meet, Jews were able to live a life of luxury. This statement serves to emphasize the broken hierarchy and reinforc e class divisions and a belief that their suffering was unjustly deserved.

victimage .
There are many instances of division depicted in The Eternal Jew. One particularly powerful scene involves the juxtaposition of the Polish men in the ghettos to that of German men worki ng.
Narrator: Aryan man attaches a sense of wo1th to every activity; he wants to create something worthwhile, food or clothing, houses or machines. Works of art or anything else of value to everyone. He's ruled by the feeling of being responsible for his achievements. (The Eternal Jew, 1940) A montage of supposed German men engaging in physical labor accompanies this statement by the narrator. Such acts as woodworking, metal crafting .and digging serve to project Germans as productive members of society and civilization builders. A metaphor that relates this dialectic is that of the mythical Chimera (Smith, 1996, p . 212). The Chimera is a bastardization of animals, a beast that is savage and brutal. However this beast is a product of imagination , so while it exists in men' s fears, in reality it does not exist. Hitler played upon societal fears of the Jewish stereotype. These fears include a systematic plot to overthrow the world, the Jewish usurping of societal values, and demonization of the physical appearance, all elements presented in The Eternal Jew through the careful depiction of shadows and body language. By constantly talking about the Jewish threat, Hitler created such a threat in the public imagination. However in reality, much like the chimera, the Jewish threat simply did not exist.
Michael McGee (1975) introduces the notion of a socially constructed public through the rhetoric of a leader and its importanc e in political realms. McGee states: 'The people,' therefore are not objectively real in the sense that they exist as a collective entity in nature; rather, they are a fiction dreamed by an advocate and infused with an artificial, rhetorical reality by the agreement of an audience to participate in a collective fantasy. (p. 240) The volkisch movement fostered the expectations for the ideal Gem1an, defining racial and cultural standards. Like the Chimera, the Jews were associated with the inequities from which the German's suffered following the First World War. Their existence as deviant from 'the people', the German population, was socially constructed in order to support the ideology professed by Hitler. In essence, the Jews became a Counterpublic. Robert Asen notes that Counterpublics, "illuminate the differential power relations among diverse publics of a multiple public sphere" (Asen, 2000, p. 425). Jews were legally depicted as different than Germans, and due to this difference were treated unequally. The description and visual portrayal of the Jewish population became a tool to support the notion of German racial supremacy and Nazi ideology.
In order to marginalize the Jewish community, Hitler referred to them as an evil. This is much like religious discourse in the battle of ultimate good over evil.
Burke notes that Hitler followed a religious pattern when he spoke, the notion of "prosperity of poverty" (Burke, 1989, p. 213  Hippler integrates severa l films out of context in order to emphasize the division. One such film is The House of Rothschild (1934). The House of Rothschild was a film that highlights and chronicles the emergence of the Rothschild banking family and the prejudices they endured for being Jewish. One segment of this film that Hippler uses origina lly showed the inconsistent treatment of tax collectors to Jewish families and non-Jewish families. To compensate for the higher taxes the Rothschilds tried to hide their true worth from the tax collectors so as to not be penalized as harshly as they would have been. The House of Rothschild tries to make the statement that the Rothschilds were treated unequally and forced to pay higher taxes because they were Jewi sh. However , Hippler shows the clip out of context with the narrator stating, "They honor their hero in a typically Jewish manner delighting in the way old Meir Amsche l Rothschild cheats his host state by feigning poverty to avoid paying taxes" (The Eternal Jew, 1940). An ethical division between Germans and Jews is created with the suggestion that even rich Jewish citizens are greedy and do not like to pay their taxes.
A second important tactic used by Hippler in order to emphasize a division is the use of dehumanization. The film uses the terms "sickness," "parasite," "perpetual sponger," "usurers," and "mongrelized" as descriptors of Jews. There is also a section in the film in which the Jewish migration across the world is similar to that of the Bubonic Plague carried by the rats. The visuals that accompany the following narration contain rats coming out of sewers, rats spilling out of holes in sacks filled with grain, rats crawling over foodstuff s, and finally the profiles of men walking down the street who glance into the camera.
Narrator: Wherever the rats turn up they carry destruction to the land by destroying mankind's goods and nourishment and spreading diseases and plagues such as cholera dysentery , leprosy and typhoid fever. They are cunning, cowardly and cruel, and usually appear in massive hordes. They represent the elements of sneakiness and subterranean destruction among animals, just as the Jews do among mankind. (The Eternal Jew , 1940) This aspect of the film serves to transform the Jews into rats . The implications of these word choices and visuals are to create the Jews as the Other. By being an Other, the Jews are different, and in this case sub-human to the German people. McPhail states that, "A contemporary rhetorical theory of the language ofracism suggests this explanation of the fallacy of race: racism is perpetuated by an antagonistic discour se" (McPhail, 1994, p. 3). The Nazi ' s were able to use anti-Semitic propaganda because there were some deep-seated societal beliefs that the Jews were different. The discourse used by the Nazi ' s indicates that racism unleashes powerful processes of division that serve as prelude to the victimization process . In lessening the worth of the Jews, Hippler is building the case for the ultimate act of victimization, the literal kill.
The Eternal Jew invokes the use of the enthymeme in order to enhance and solidify Nazi ideology. The scene described above invites the audience to perceive the Jews as nothing more than rats due to the visuals that have been presented. The audience is inundated with close up shots of rats and then a shot of a Jewish individual. Visually the film is attempting to draw parallels between the behavior and physiognomy of the rat and the Jew .
To highlight the use of the enthymeme in this film, a shot list of the visuals the audience is presented with will be described in two separate scenes. The constructed response the audience is supposed to deduct from those visuals will then be analyzed in the context of the film in relation to overall volkisch values.  Jew , 1940) This factoid creates the illusion that the Jews were everywhere in the professional workforce. The purpose of showing these numbers is to point out that these are the amount of jobs that the Jews are taking away from the German citizens, which serves to incite anger, and perhaps envy against Jews . The Third Reich created this notion of overpopulation of Jews in the professions, when in actuality the Jews formed a small segment of the German population. The Nazi's created this Jewish conspiracy to make them seem more numerous in order to increase the public's fear and hatred of them.

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The concept of Jews as villainous, or pure evil, is presented in a scene where the method of Kosher butchering of animals is shown. Before the slaughtering is shown a disclaimer is presented on screen that states: One of the most illuminating customs of the Jews' so-called religion is the slaughter of animals. The following actual scenes are among the most horrifying ever captured. We show them despite objections about poor taste.
It's more important that our people know the truth about Jewry. (The Eternal Jew, 1940) The scene then progresses to show butchers cutting the necks of animals open so that they bleed to death . The camera operator captures every detail, including the steam rising off the blood as it hits the cold floor. Accord ing to the film, this is supposedly because of the Jewish religion, but in actuality it is a barbaric practice that is cruel to animals. The film states that this method of Kosher butchering is "a deceptive practice," thus depict ing the Jews as villainous by show ing them torturing animals according to their questionable religious beliefs. Using the words 'so called religion' questions the legitimacy of the established Jewish religion as an apparent means to torture animals. To visually enhance this notion, a cow is shown dying in a pool of its blood while the camera cuts to a shot of a man in an apron laughin g, as if he is enjoying the animal's suffering. The scenes of Jewish butchering are then juxtaposed with baby lambs in a field with the narrator stating, "Consi derin g the well known German love of animals it would have otherwise been impossible for the Jews to continue their cruel torture of innocent, defenseless animals unpunished" (The Eternal Jew, 1940). This dialectic portrays the Germans as righteous and the Jews as evil torturers of animals. Through the use of the enthymeme, this imbues the notion into German citizens that the behaviors exhibited by the Jews is wrong and needs to be corrected.
The prev iously scene analyzed which belittles the outward appearance of Jews also serves to emphasize the notion that Jews are villainous. The audience is invited to believe that Jews intermingle with civilized Europeans in a subvers ive and deceitful manner. There is an emphasis on Jews being able to walk among Germans, with Germans being none the wiser of the Jews' racial origins. This serves to create a fear in the average German citizen of Jewish individua ls and their ability to blend in and "infiltrate western civilization" (The Eternal Jew, 1940) as if Jews are a threat to the safety and security of Germany.

catharsis.
There are several elements of The Eternal Jew that demonstrate the symbolic release of guilt. In a general sense, the production of this film can be seen as symbolically cathartic insofar as it provides for division and symbolic victimage in the form of verbal abuse. More importantly it sets the stage symbolica lly for more extreme forms of victimage that follow , such as labeling. The words used to describe the Jews have been carefully scripted in order to attack them, words such as "parasite," "demon," "deceitful." The word Jew then becomes synonymous with these negative associations . The act of venting, or validating these frustrations and anti-Semitic slanders serves to make the German race transfer their guilt about themselves and what they have done, a justification of their actions. In attacking the perceived cause of Germany's fall, the Jewish people, the Germans are able to accept that they 68 have fallen, and in killing the agents of their fall, purge the nation of the poisonous villains, and be "reborn" as a purified and united people.
The elemen t of catharsis that the film anticipates appears in the final scene, where Hitler speaks at the Reichstag on January 30, 1939. Hitler states that, "Should the international finance Jews inside and outside Europe push people into another world war, the result will not be a victory of Jewry, but the destruction of the Jewish race in Europe" (The Eternal Jew, 1940). During-his statement, the camera shows

1940)
The last visual the audience sees is of the German military march ing in formation and as the camera fades out, the swastika is shown on several flying banners to reiterate the strength, pride, values and unity of Germany under the Nazi Party.

redemption.
The film serves to give the Germans peace of mind as one anonymous film reviewer states in Unser Wille and Weg (1940), One has a deep sense of salvat ion after seeing this film. We have broken their power over us. We are the initiators of the fight against world Jewry, which now directs its hate, its brutal greed and destructive will toward us. We must win this battle for ourselves, for Europe, for the world. This film will be a valuab le tool in that struggle. (pp. 54-55) Unser Wille and Weg (Will and Way) was a periodical produced by the Nazi's for the distribution of ideology to the public. According to the critic, the film uncovers the 70 truth behind Jewry and alleviates the Jewish hold over the German people. The reviewer, a member of the Nazi Party, points out the effectiveness of the film in redeeming Germans from the Jewish plight. This is concurrent with a Burkean analysis of how the film highlights the broken social hierarchy, emphasizes guilt and uses the Jewish population as scapegoats, thus allowing the Germans to alleviate those feelings of guilt and reach redemption.
The Eternal Jew reveals the efforts of the Nazi's to relieve themselves of the guilt fostered by the loss of World War I. The Germans socio-economic and political hierarchical fall resulted in the victimage of the Jewish peop le throughout Eastern Europe . This film effective ly argues for the eradication of the Jewish race in order for the Germans to reach a state of redemption.

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Chapter Four

Conclus ions
A Burkean analysis of the drama of this piece of Naz i propaganda reveals that it is much more than anti-Semitic rhetoric, but rather a calculated blueprint for redemption and political power. The Eternal Jew was a carefully crafted mirror to the negativity felt amongst the Germans as a result of losing World War I, the Jews were depicted through various emotionally charged phrases as justified agents to sacrifice in order to redeem the former glory of Germany The Germans were positively' described as hard workers who worked for the betterment of society . In comparison of the two popu lations, the film serves to create a highly charged negati ve view of the Other in regards to the Jews. They are described as bein g different and of less importance than the Germans.
My second objective was to consider German society betwe en the two World Wars in order to understand the comparative term s used for the two cultures. My research into the disorganizat ion of German society after World War I revealed shattered social, political, and economic systems which threw the country into chaos ..

Germans had cultural notion s of being superior to all civilizations and losing World
War I was in stark contradict ion to that. The feelings of moral guilt, economic insecurity and political instability that resulted were eventuall y blamed on the Jews.
This was made possible, in part, by the long-stand ing anti-Semitic views that German culture fostered since the late 1800's with the volk isch movement. The usage of scapegoating worked well because of the volkisch movement. Nazi propagandists played upon stereotypes of Jews as being greedy, sneaky, usurers, physically inferior and destructi ve to society . The proce ss of identifying Jews with these characteristics helped to persuade the public for the cult of the kill. My analys is of The Eternal Jew argues that this film is an enactment of drama by the Nazi ' s.
My last objective was to analyze the cathartic means of achieving redemption that the Germans took. The film itself was a vehicle for expressing the Germans long felt socio-po litical, economic and moral inadequacies as a result oflosing World War I. In addition the film prepares the German public for the cult of the kill in the final scene in which Hitl er prophesizes The Final Solution. Only when all Jews were exterminated would the Germans be able to reclaim their "p lace in the sun."

Direction for Futu re Research
Thi s study examines The Eternal Jew through one component of Dramatism, The Seven Interlocked Moments, and is an1ong the first full scale rhetorical analysis of the film. The Seven Interlocked Moments were used to analyze the motivational factors of the Germans in the enactment of their Final Solution. To further a Burkean interpretation calls for a pentad ic analysis of The Eternal Jew as well in order to fully explore the relationships between the film, the Germans, the Jews, the marginalization of the Jews, the Nazi movement and the social context in_which the film occurred. In addition to furthering the Dramatistic analysis, the film provides a historical opportunity for other critical and semiotic approaches.
A deconstructi ve critical approach might consider the dialect ical aspects of the film that move beyond the merger-division-merger dialect ic of Burke 's scapegoat.
This allows for an analysis of the language being used to control discourse in Nazi Germany in regards to socio -economic and politica l spheres. Semiotic approaches might consider in greater detail the cinematographic and visual aspects of the film, such as the relation of the camera to the subject. The Eternal Jew is a relatively untouched film in the field of rhetorical studies; therefore any analytical study is appropriate in order to enhance the body of literature surrounding this piece of Nazi discourse.