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Veit HarlanThe Life and Work of a Nazi Filmmaker$
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Frank Noack

Print publication date: 2016

Print ISBN-13: 9780813167008

Published to Kentucky Scholarship Online: September 2016

DOI: 10.5810/kentucky/9780813167008.001.0001

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Epilogue

Epilogue

“Hitler, Harlan, Honecker”

Chapter:
(p.365) Epilogue
Source:
Veit Harlan
Author(s):

Frank Noack

Publisher:
University Press of Kentucky
DOI:10.5810/kentucky/9780813167008.003.0028

This chapter deals with Harlan’s legacy, beginning with the obituaries written about him, followed by a controversial reissue of Kolberg in 1965 and the posthumous publication of Harlan’s autobiography in 1966. For two decades, it is left to two opposing camps to remember him: apolitical, conservative or even right-leaning nostalgists to whom he represents a “good old time” that never was and followers of Siegfried Kracauer’s ideology criticism who use Harlan’s name as a possessive pronoun to refer to someone who happened to direct several Nazi propaganda films as opposed to a true auteur who is able to impose on his material an aesthetic form. It is only in the 1980s that he gains a cult following among younger cineastes who are able to combine ideology criticism with a feeling for aesthetics. This chapter also documents the further lives of Harlan’s wives and children as well as the novels written and the films produced about him.

Keywords:   autobiography, cult following, family history, ideology criticism, legacy, nostalgists, obituaries

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