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“Keeping the Monster Alive”: The Cultural Work of Hitler Fiction
| Content Provider | Semantic Scholar |
|---|---|
| Author | Butter, Michael |
| Copyright Year | 2009 |
| Abstract | It is of course impossible to determine the exact moment when Hitler entered the American cultural imaginary as a trope apt to negotiate issues unrelated to the Third Reich. By 1968, though, parts of the culture began to self-consciously interrogate how the figure was faring in the United States. This is perhaps most evident in Mel Brooks’s film The Producers, a comedy about two Broadway producers who stage a musical called Springtime for Hitler. They hope that the show will fail, because this promises greater financial gains, and are shocked when it proves a huge success with an audience that takes it to be a satire. Casting Hitler as a rather harmless, ridiculously bad singer, The Producers can be read as an early attempt at demystifying the Hitler of the cultural imaginary and at challenging the aura of evil incarnate that was increasingly surrounding him. |
| Starting Page | 47 |
| Ending Page | 66 |
| Page Count | 20 |
| File Format | PDF HTM / HTML |
| DOI | 10.1057/9780230620803_3 |
| Alternate Webpage(s) | https://page-one.springer.com/pdf/preview/10.1057/9780230620803_3 |
| Alternate Webpage(s) | https://doi.org/10.1057/9780230620803_3 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
