Nearly sixty years after the end of World War II the Third Reich continues to fascinate both authors and readers. Nazi propaganda, in particular, has been the topic of countless books, as have the personalities involved in the German propaganda machine. Yet, despite all of the efforts in this regard, one aspect of that propaganda study has remained largely unexamined. It is the regimes use of postal materials as a tool for expressing its propaganda message. In this new, profusely illustrated book, Albert L. Moore offers readers an overview of the images and messages that filled the mailboxes of Hitlers subjects and victims. As official documents of Nazi Germany, the stamps, postcards, and even postmarks used during the time provide the reader with an explicit picture of the types of propaganda messages every German was expected to see and act upon on a daily basis. Moores groundbreaking work helps us to better understand this powerful, yet heretofore unrecognized, weapon in Hitlers propaganda arsenal. This is not merely a book for those interested in stamps or postcards as collectibles, it is a book for those who desire to better understand what it was like to live inside the Third Reich!

Today, European nations still use stamps to commemorate aspects of a nation's culture, history and achievements. During the Second World War, however, stamps were considered far more important in conveying political and ideological messages about their country's change in fortunes – whether it was as triumphant occupier, willing or unwilling ally, or oppressed victim. Some issues and overprints contained obvious messages, but many others were skillfully designed and subtle in their intentions. Stamps and their accompanying postmarks offer an absorbing and surprisingly detailed insight into the hopes and fears of nations at this tumultuous time. This remarkable collection examines and interprets the stamps of twenty-two countries across western and eastern Europe. The glorification of the Führer and Germany on the stamps of countries he most oppressed was inevitable, but many issues are ambiguous and indicative of the rival ethnic and political forces striving to attain influence and power. Desperate to unite the people, Soviet Russia resorted to images of the nation's heroic achievements under the Tsars; the mutually hostile puppet states Hitler and Mussolini allowed to emerge out of conquered Yugoslavia lost no time in issuing stamps proclaiming their cultural diversity; and Vichy France sought to justify its existence with issues linking past glories under Louis XIV and Napoleon with an equally glorious future alongside Hitler. These and many more stories reveal the aspirations, assumptions and anxieties of so many nations as their destinies hung in the balance.

A ground-breaking study that gets us closer to solving the mystery of why so many Germans embraced the Nazi regime so enthusiastically and identified so closely with it.

"After extensive years of research, the third volume of this series is finally available. As with the first two volumes, it chronologically covers official issues, ""printed to private order"" for special events and propaganda cards for the years 1940-1945. For added interest, the colorful cards from annexed and occupied countries are also included: Austria, Bohemia and Moravia, Poland, Alsace and Lorraine, Latvia, Ukraine, Serbia, Albania, the Island of Rhodes, just to name a few. This volume will be of particular value to collectors as it is almost 100% full color, to include all the imprinted stamps. This allows for close scrutiny of the various overprints and the identification of the numerous color variations. If you love the study of postcards, be prepared to be emersed in more color and variant details than ever seen before."

This lucid and comprehensive collection of essays by an international group of scholars constitutes a photo-historical survey of select photographers who embraced National Socialism during the Third Reich. These photographers developed and implemented physiognomic and ethnographic photography, and, through a Selbstgleichschaltung (a self-co-ordination with the regime), continued to practice as photographers throughout the twelve years of the Third Reich. The volume explores, through photographic reproductions and accompanying analysis, diverse aspects of photography during the Third Reich, ranging from the influence of Modernism, the qualitative effect of propaganda photography, and the utilisation of technology such as colour film, to the photograph as ideological metaphor. With an emphasis on the idealised representation of the German body and the role of physiognomy within this representation, the book examines how select photographers created and developed a visual myth of the ‘master race’ and its antitheses under the auspices of the Nationalist Socialist state. Photography in the Third Reich approaches its historical source photographs as material culture, examining their production, construction and proliferation. This detailed and informative text will be a valuable resource not only to historians studying the Third Reich, but to scholars and students of film, history of art, politics, media studies, cultural studies and holocaust studies.

The sheer magnitude of the Holocaust has commanded our attention for the past sixty years. The extent of atrocities, however, has overshadowed the calculus Nazis used to justify their deeds. According to German wartime media, it was German citizens who were targeted for extinction by a vast international conspiracy. Leading the assault was an insidious, belligerent Jewish clique, so crafty and powerful that it managed to manipulate the actions of Roosevelt, Churchill, and Stalin. Hitler portrayed the Holocaust as a defensive act, a necessary move to destroy the Jews before they destroyed Germany. Joseph Goebbels, Minister of Propaganda, and Otto Dietrich’s Press Office translated this fanatical vision into a coherent cautionary narrative, which the Nazi propaganda machine disseminated into the recesses of everyday life. Calling on impressive archival research, Jeffrey Herf recreates the wall posters that Germans saw while waiting for the streetcar, the radio speeches they heard at home or on the street, the headlines that blared from newsstands. The Jewish Enemy is the first extensive study of how anti-Semitism pervaded and shaped Nazi propaganda during World War II and the Holocaust, and how it pulled together the diverse elements of a delusionary Nazi worldview. Here we find an original and haunting exposition of the ways in which Hitler legitimized war and genocide to his own people, as necessary to destroy an allegedly omnipotent Jewish foe. In an era when both anti-Semitism and conspiracy theories continue to influence world politics, Herf offers a timely reminder of their dangers along with a fresh interpretation of the paranoia underlying the ideology of the Third Reich.

A history of Nazi propaganda based on never-before-published posters, rare photographs, and historical artifacts from the USHMM’s groundbreaking exhibition. “Propaganda,” Adolf Hitler wrote in 1924, “is a truly terrible weapon in the hands of an expert.” State of Deception: The Power of Nazi Propaganda documents how, in the 1920s and 1930s, the Nazi Party used posters, newspapers, rallies, and the new technologies of radio and film to sway millions with its vision for a new Germany—reinforced by fear-mongering images of state “enemies.” These images promoted indifference toward the suffering of neighbors, disguised the regime’s genocidal actions, and insidiously incited ordinary people to carry out or tolerate mass violence.The United States Holocaust Memorial Museum is addressing this topic today because, in an age of instant electronic communication, disseminators of messages and images of intolerance and hate have new tools, while at the same time consumers seem less able to cope with the vast amounts of unmediated information bombarding them daily. It is hoped that a deeper understanding of the complexities of the past may help us respond more effectively to today’s propaganda campaigns and biased messages.

Between Dignity and Despair draws on the extraordinary memoirs, diaries, interviews, and letters of Jewish women and men to give us the first intimate portrait of Jewish life in Nazi Germany. Kaplan tells the story of Jews in Germany not from the hindsight of the Holocaust, nor by focusing on the persecutors, but from the bewildered and ambiguous perspective of Jews trying to navigate their daily lives in a world that was becoming more and more insane. Answering the charge that Jews should have left earlier, Kaplan shows that far from seeming inevitable, the Holocaust was impossible to foresee precisely because Nazi repression occurred in irregular and unpredictable steps until the massive violence of Novemer 1938. Then the flow of emigration turned into a torrent, only to be stopped by the war. By that time Jews had been evicted from their homes, robbed of their possessions and their livelihoods, shunned by their former friends, persecuted by their neighbors, and driven into forced labor. For those trapped in Germany, mere survival became a nightmare of increasingly desperate options. Many took their own lives to retain at least some dignity in death; others went underground and endured the fears of nightly bombings and the even greater terror of being discovered by the Nazis. Most were murdered. All were pressed to the limit of human endurance and human loneliness. Focusing on the fate of families and particularly women's experience, Between Dignity and Despair takes us into the neighborhoods, into the kitchens, shops, and schools, to give us the shape and texture, the very feel of what it was like to be a Jew in Nazi Germany.

Victor Klemperer was Professor of French Literature at Dresden University. As a Jew, he was removed from his post in 1935, only surviving thanks to his marriage to an Aryan. Presenting a study of language and its engagement with history, this book draws form Klemperer's conviction that the language of the Third Reich helped to create its culture.