Framing Totalitarianism: Language and Film in 1930s Nazi Germany

我的博士研究考察了20世纪30年代纳粹德国的语言和电影之间的结构关系。本文论证了语言和电影的相互依存关系，阐明了极权主义政权利用这两种最广泛的交流手段进行意识形态胁迫的更复杂的机制。通过研究公共话语和政策的语言，以及选定的电影，包括路易斯·特伦克的寓言，莱妮·里芬斯塔尔的纪录片，和维特的史诗哈兰，研究表明，在不同的方式，自然语言在公共领域的结构性操纵，然后转移到电影语言，在那里它达到了最大的意识形态效果。这种效果超越了宣传，构成了否定美学：政权固有的消极极权主义意识形态的视觉表现。这项研究将有助于语言学和电影研究是第一个研究如何在20世纪30年代纳粹德国的语言和电影结构相互作用。本文将提供一个更全面的理解如何极权主义在公共领域运作，提供了一个基础，进一步研究我们如何理解极权主义，从明显的极权主义模式，以更隐含的极权主义原则在语言和电影的今天的应用。

My doctoral research examines the structural relationship between language and film in 1930s Nazi Germany. This thesis demonstrates the interdependence of language and film, elucidating the more complex mechanisms by which a totalitarian regime used the two most widespread means of communication for ideological coercion. By examining the language of public discourse and policy, and selected films including Luis Trenker's fables, Leni Riefenstahl's documentaries, and Veit Harlan's epics, the research demonstrates the different ways in which natural language was structurally manipulated in the public sphere and then transferred into film language, where it attained its maximum ideological effect. This effect goes beyond propaganda, constituting the aesthetics of negation: the visual manifestation of the inherently negative totalitarian ideology of the regime. This research will contribute to Linguistics and Film Studies by being the first to examine how language and film structurally interacted in 1930s Nazi Germany. The thesis will offer a more comprehensive understanding of how totalitarianism operated in the public sphere, providing a basis for further research on how we understand totalitarianism, from obvious totalitarian models to more implicit applications of totalitarian principles in language and film today.