{"title":"Robert C Reimer","description":null,"products":[{"product_id":"arbeitsbuch-zu-german-culture-through-film-book-robert-c-reimer-9781585101450","title":"Arbeitsbuch zu German Culture through Film","description":"\u003cp\u003e\u003cstrong\u003eShe ran to protect him. Now she's back to face what they both lost.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eKennedy Reynolds has spent the last decade on the move, chasing freedom and hiding from a past she couldn't outrun. But when the woman who took her in-and made her part of a makeshift family-dies unexpectedly, Kennedy is called home to Eden's Ridge. There, she's reunited with her estranged sisters... and the man whose heart she shattered.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eXander Kincaid never understood why Kennedy disappeared after graduation without a word. She was his best friend, his first love, his future-until she vanished. 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In spite of the control that Goebbels's film industry exercised over all aspects of filmmaking in the Third Reich, the films reveal an individuality that belies subsuming them under any one rubric or containing them within any one theory. Films such as Hitlerjunge Quex, Die gro e Liebe, and Auf Wiedersehen Franziska represent the Nazi film industry's efforts to propagandize through entertainment. Others such as Immensee, Kleider machen Leute, and Der Schimmelreiter reveal an attempt to expropriate Germany's rich literary past for the regime. These literary adaptations and films like Gl ckskinder, La Habanera, and Der Kaiser von Kalifornien today seem void of Nazi ideology if viewed outside the context of Nazism. But another film, Der ewige Jude, shocks us with its virulent anti-Semitism and hateful propaganda almost sixty years after its release. 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