“Hitler, Harlan, Honecker”
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.
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