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HITLER AND I by OTTO STRASSER CONTENTS: INTRODUCTION PREFACE TO THE ENGLISH EDITION MY FIRST MEETING WITH HITLER THE GERMAN CAULDRON THE CONSPIRATORS OF THE BURGERBRAU HITLER WRITES MM KAMPF THE MAN HITLER HITLERISM VERSUS STRASSERISM OPEN COMBAT THROUGH TREASON TO POWER THE GESTAPO ON MY HEELS THE GERMAN BLOODBATH HITLER, MASTER OF EUROPE THE FUTURE AGAINST HITLER PREFACE TO THE ENGLISH EDITION IN the early morning of November 9th, 1939, the world was startled by the report of an attempt on Hitlers life, the occasion being the traditional reunion in the Burger braukeller of Munich. Responsibility was laid by the Nazi propagandists at my door, as Leader of the Black Front, and at that of the British Secret Service. Such accusations are not worth answering. The incident had quite another significance: it was the signal for the opening of the second phase of Hitlers war. The first phase was the Polish campaign, which Hitler and his General Staff regarded as a mere police action, to be accompanied by a peace offensive against the Western powers. It was the unexpected failure of this offensive that determined Hitler to end the war in the West by a lightning victory. In this war he has one objective: to destroy the power of Britain. France is a secondary consideration, like Belgium important only as a jumpingoff ground. But to bring Britain to her knees there must be an effective blockade, to be followed by the landing of troops and crowned by a peace dictated from Buckingham Palace. Peace with France would follow as a natural consequence, and Hitler, as Emperor of Europe, would have reached the first stage towards world domination. To secure the submarine and air bases essential for this twofold military and economic attack upon Britain, Hitler decided upon the invasion of Holland. He reckoned on no great military outlay, and was confident that Belgium would remain neutral, thus preventing effective Allied assistance. The invasion was planned for November 12th, 1939, and the Munich explosion was arranged a day or two earlier for the purpose of arousing public opinion against perfidious Albion. It was thanks to the diplomacy of the Western powers, and to an even greater extent to her own enlightened selfinterest, that on November nth and isth Belgium announced that in the event of an invasion she would fight at the side of Holland, thus opening the way for Allied assistance to the Low Countries. The plan for a minor war therefore had to be abandoned. Instead a major war had to be undertaken, and this neces sarily demanded several months preparation. The first step was the invasion of Denmark and Norway, to secure the eastern seaboard of the North Sea and to protect northern Germany from a British counteroffensive.
This text is based on current research findings and is written for students and general readers who want a deeper understanding of this period in German history. It provides a balanced approach in examining Hitler's role in the history of the Third Reich and includes coverage of the economic, social, and political forces that made the rise and growth of Nazism possible; the institutional, cultural, and social life of the Third Reich; the Second World War; and the Holocaust.
Presents convincing evidence that it was Hitler's political strategies and arguments, which built his unprecedented support among the German people.
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
In February 1942, barely two months after he had declared war on the United States, Adolf Hitler praised America's great industrial achievements and admitted that Germany would need some time to catch up. The Americans, he said, had shown the way in developing the most efficient methods of production—especially in iron and coal, which formed the basis of modern industrial civilization. He also touted America's superiority in the field of transportation, particularly the automobile. He loved automobiles and saw in Henry Ford a great hero of the industrial age. Hitler's personal train was even code-named "Amerika." In Hitler and America, historian Klaus P. Fischer seeks to understand more deeply how Hitler viewed America, the nation that was central to Germany's defeat. He reveals Hitler's split-minded image of America: America and Amerika. Hitler would loudly call the United States a feeble country while at the same time referring to it as an industrial colossus worthy of imitation. Or he would belittle America in the vilest terms while at the same time looking at the latest photos from the United States, watching American films, and amusing himself with Mickey Mouse cartoons. America was a place that Hitler admired—for the can-do spirit of the American people, which he attributed to their Nordic blood—and envied—for its enormous territorial size, abundant resources, and political power. Amerika, however, was to Hitler a mongrel nation, grown too rich too soon and governed by a capitalist elite with strong ties to the Jews. Across the Atlantic, President Franklin Delano Roosevelt had his own, far more realistically grounded views of Hitler. Fischer contrasts these with the misconceptions and misunderstandings that caused Hitler, in the end, to see only Amerika, not America, and led to his defeat.
“The best single volume available on the torturous life and savage reign of Adolf Hitler.” —Time A bestseller in its original German edition and subsequently translated into more than a dozen languages, Joachim Fest’s Hitler has become a classic portrait of a man, a nation, and an era. Fest tells and interprets the extraordinary story of a man’s and nation’s rise from impotence to absolute power, as Germany and Hitler, from shared premises, entered into their covenant. He shows Hitler exploiting the resentments of the shaken, post–World War I social order and seeing through all that was hollow behind the appearance of power, at home and abroad. Fest reveals the singularly penetrating politician, hypnotizing Germans and outsiders alike with the scope of his projects and the theatricality of their presentation. Perhaps most importantly, he also brilliantly uncovers the destructive personality that aimed for and achieved devastation on an unprecedented scale. As history and biography, this is a towering achievement, a compelling story told in a way only a German could tell it: “dispassionately, but from the inside” (Time).
Focusing on German society immediately following the First World War, this vivid historical narrative explains how fake news and political uproar influenced Hitler and put him on the path toward dictatorial power. How did an obscure agitator on the political fringes of early-20th-century Germany rise to become the supreme leader of the "Third Reich"? Unlike many other books that track Adolf Hitler's career after 1933, this book focuses on his formative period--immediately following World War I (1918-1924). The author, a veteran producer of historical documentaries, brings to life this era of political unrest and violent conflict, when forces on both the left and right were engaged in a desperate power struggle. Among the competing groups was a highly sophisticated network of ethnic chauvinists that discovered Hitler and groomed him into the leader he became. The book also underscores the importance of a post-war socialist revolution in Bavaria, led by earnest reformers, some of whom were Jewish. Right wing extremists skewed this brief experiment in democracy followed by Soviet-style communism as evidence of a Jewish-Bolshevik plot. Along with the pernicious "stab-in-the-back" myth, which misdirected blame for Germany's defeat onto civilian politicians, public opinion was primed for Hitler to use his political cunning and oratorical powers to effectively blame Jews and Communists for all of Germany's problems. Based on archival research in Germany, England, and the US, this striking narrative reveals how the manipulation of facts and the use of propaganda helped an obscure, embittered malcontent to gain political legitimacy, which led to dictatorial power over a nation.
Available again, the classic, unprecedented look at how the strategies and ideals of the Third Reich were informed by Adolf Hitler's artistic aspirations. "Grimly fascinating . . . A book that will rightly find its place among the central studies of Nazism. . . . Invaluable." --The New York Times
'INSIDE THE THIRD REICH is not only the most significant personal German account to come out of the war but the most revealing document on the Hitler phenomenon yet written. It takes the reader inside Nazi Germany on four different levels: Hitler's inner circle, National Socialism as a whole, the area of wartime production and the inner struggle of Albert Speer. The author does not try to make excuses, even by implication, and is unrelenting toward himself and his associates... Speer's full-length portrait of Hitler has unnerving reality. The Fuhrer emerges as neither an incompetent nor a carpet-gnawing madman but as an evil genius of warped conceits endowed with an ineffable personal magic' NEW YORK TIMES
An exposé of Hitler’s relationship with film and his influence on the film industry A presence in Third Reich cinema, Adolf Hitler also personally financed, ordered, and censored films and newsreels and engaged in complex relationships with their stars and directors. Here, Bill Niven offers a powerful argument for reconsidering Hitler’s fascination with film as a means to further the Nazi agenda. In this first English-language work to fully explore Hitler’s influence on and relationship with film in Nazi Germany, the author calls on a broad array of archival sources. Arguing that Hitler was as central to the Nazi film industry as Goebbels, Niven also explores Hitler’s representation in Third Reich cinema, personally and through films focusing on historical figures with whom he was associated, and how Hitler’s vision for the medium went far beyond “straight propaganda.” He aimed to raise documentary film to a powerful art form rivaling architecture in its ability to reach the masses.