Carl Ritter - filmmaker, agitator and Nazi pilot

Carl Ritter is the personal embodiment in the Nazi regime of the Gordian tie between aviation, cinema, myth and nationalism. The Gordian tie was developed as a result of: A. The importance of aviation to mankind. B. The parallel development of cinema in the twentieth century. C. The widespread use of mythical modernity in the Fascist regimes. D. The embodiment of airplane and pilot myths in many popular movies. Carl Ritter is a key figure in a group of Nazi filmmakers identified with this connection.

The golden age of aviation, from the early 20th century to the 1950th, coincided with that of cinema. Cinema developed just as fast and dramatically as flight, and both quickly established themselves as the most exciting and popular form of leisure and activity, while becoming an incredibly effective channel for spreading ideas. During the interwar period, popular cinema took advantage of fears of an aerial bombardment in the next great war. At the same time, cinema during this period used photographing of the pilot and the aircraft for nationalist propaganda, which showed achievements in this subject as the spearhead of the national technological initiative.

The flight experience was seen as the ultimate empowerment of life. Aviation has become the form of the new era, on which it has made its mark. The pilot was a new kind of person. The German pilot was not just a new German man. The model deserved to have a formative impact on the entire world. Germany shaped the propaganda pilot myth for propaganda purposes as early as the First World War. Ernest Udet, heir to the stereotype, came to the dream industry, where he played his character in a series of mountain films that created continuity between the Weimar Republic and the Nazi regime. Through its popular commander Hermann Goering, who was Hitler's deputy, this regime became identified with the subject of aviation. The airplane became in Nazi Germany a social-industrial-military locomotive and a mythical-propaganda icon that propelled world-wide political processes. The aviation films of Karl Ritter and his colleagues, who were all very popular in Germany, were mobilized for politics.

At the same time, the Nazis nationalized the German film industry, under the framework of the huge UFA company, which was established at the end of the First World War. At its peak, UFA also competed with the major Hollywood studios, and the German film industry was the second largest in the world. The thousands of films produced by the company, in all genres, have been watched by hundreds of millions of viewers. After the Nazis came to power, in 1933, they made it their main propaganda tool.

Carl Ritter, who came to the film industry by chance in 1926, was a fighter pilot and flight instructor in his military past, and a successful and enthusiastic Nazi graphic artist as a citizen. With a close family relationship with composer Richard Wagner, he sought to present the flight skills as appropriate to each person. The issue of aviation was identified for him with the values ​​of the Nazi party.

In early 1933, Ritter received from Joseph Goebbels  an invitation to a three-year employment contract with UFA. Under the contract he received his own production group, with which he worked during the dozen years of the Third Reich. He enjoyed a tidy production studio and budgets that otherwise would not have fallen on his part. Between the years 1936-1945 he played a major role in the creation of about twenty films. About a third of them were significant aviation films.

He clearly described his goal as a cinematic filmmaker in ideological terms: "The path of German films will uncompromisingly lead to the conclusion that every film must remain in the service of our community, of the nation and of our Fuhrer." Although he declared himself a propagandist, and worked in the studio method, he can be defined as an author. This is due to the unique background he brought to the film industry and his adherence to a typical style.

At the beginning of the Nazi regime, under the influence of the film "Potyomkin", the propaganda film "Hitler's youth Quack" (1935) was created, had a huge success and influence, and Carl Ritter was its producer. Ritter's first propaganda-plot-aviation film as a director was "Traitor" (1936), a contemporary spy thriller set in an aircraft factory. During 1937, he created a trilogy of war-propaganda films set in World War I, which was watched by some 6 million viewers. The aviation narrative in these films exists, but is still marginal.

In Nazi Germany, the shortage of original feature films stood out before the war, ones that would present the life of the German laborer as dynamic and satisfying. Carl Ritter was the first to fill in the gaps, in a style he called "Zeitsfilm". It was in fact Lenny Riefenstahl's 'Heroic Reportage' style, adopted for widespread use thanks to its modernity, surprising ability, and visual totality.

Carl Ritter films were formalists, with a high degree of redesign of reality. The clear symbol of mythical totalitarian modernism in Germany and Italy was the airplane. The Nazis formulated a neo-classical style with modern lines. The plane, with its flowing lines, had great aesthetic significance, in addition to being of technological, practical and ideological significance. The plane has been a mythical icon in cinema since its inception, and has become the central semiotic and photogenic symbol in Carl Ritter's films, using various aircraft models that star in his films, combined with their air crews. In the second circle, his films show the ground crews at the airfield. In the third circle is the civilian front, where the loved ones of the air crews live, and the plane allows for quick physical contact with them. Ritter found, in this way, a perfect format for describing the new German society.

Nazism was run as a corporation selling a brand, which is a myth cultivated for mass consumption purposes. Criticism of myth theory claims that they are intended to strengthen the political system. The world becomes through them a hollow harmonious picture. Man is inhibited by the myths, and sent by them to be a prototype that they define. Because the myths express central cultural values, they appear in mass media channels, and in particular in cinema which is a multi-participant industry. Karl Ritter, thanks to his in-depth acquaintance with the top echelons of the Nazi regime, the heads of aviation, and the artistic and ideological elite, best suited the task of shaping the Hitler Youth.

In 1938, Carl Ritter created his most important film, ''Pour Le Merite'', which was a founding cultural event, in which, semi-officially, all German history was rewritten from the end of World War I until after Hitler came to power, in a manner consistent with both the Nazi version and the development of aviation in Germany. The film deals with a group of former fighter pilots, who according to prominent biographical characteristics are from the "The Flying Circus", headed by the last commander Herman Goering. He leads his men after the war to revolt against the occupation and the new democracy in Germany.

Ritter has created, as a screenwriter, producer and / or director, several other propaganda-plot films in the style of "Zeitsfilm". Most of them are aviation films, including: "The Condor Legion" (1939), "Shtuckas" (1940), "Above All in the World" (1941), "Red Terror" (1942), "The Dora Team" (1943).

He developed, in stages, the myth of the plane and the pilot in his aviation films: the plane as a photogenic object is shown in the films "Traitor" and "The Condor Legion". The process of forging the character of the lone pilot as a national superhero is shown in the film "Pour Le Merite". The archetypal "duo" motif is central to the film "Shtuckas". The duo matures into an organized group in the romantic aviation drama "The Dora Team".

The development of aviation in Germany largely explains the phenomenon of the Nazi regime. This is not to say that other factors such as racism, anti-Semitism, anti-communism and anti-democracy did not work in it. But they were relatively negligible compared to the need to present a positive ideological discourse, in the spirit of mythical modernity, in a way that would allow them to ignore others. Ritter did not focus on the vague figure of the supernatural. His starting point was the popular forged soldier-civilian, who exist as a potential in every person.

Carl Ritter became a senior executive at UFA, earning a prestigious professorship of culture. However, his ideological zeal, connections and success, and at the same time the cumulative Luftwaffe failures from the 1940s onwards, were not liked by Joseph Goebbels, who was in charge of him, and he gradually distanced him from filmmaking.

It is wrong to see in Carl Ritter's films a reconciliation with a humane worldview. He stood out as a propaganda filmmaker and as one of the leading cultural figures in Nazi Germany. He created a popular cinema, guided by an ideological worldview, which served well the flourishing marketing machine that operated at the base of this regime.

Ernest Udet Chapter 5 - The Devil's General

 

In 1939, ahead of the campaign in Poland, Reinhard Heydrich, who was an active and outstanding pilot in Luftwaffe, turned to Udet and asked him for fighter jets for reconnaissance missions. Udet agreed, and in return received a police car number and a blue flashing headlight for his fast car.

In the summer of 1941, in the midst of the invasion of the Soviet Union, discussions were held at the Ministry of Aviation to locate the culprits in the poor supply of aircraft to the Luftwaffe. Erhard Milch, Udet's bitter rival, publicly accused him of this, and won Goering support. Udet threatened his friends with suicide as a result of these accusations, and appointing of Milch to be in charge of him.

The worried Goering, who was also the founder of the Gestapo, turned to Heydrich and asked him to spy on Udet. Heydrich concluded, from letters he had discovered, that Udet might flee to Sweden. He forbade Udet to fly himself. Udet tried to soften the decree by inviting Heydrich on a joint hunting trip, which lasted several days, but the ban remained. At the end of August 1941, Udet was hospitalized, under Goering's instruction, due to exhaustion and alcoholism. This was after a lengthy conversation with Goering at his estate, in which he sought to resign but was refused.

His confrontation in the last period of his life was in the face of the failures of the Lopwafa, and in the face of the betrayals of his loved ones in him. Before he committed suicide he wrote down who were to blame for ending his life: Goering the Iron Man, his lover, and Erhard Milch. Udet committed suicide, by shooting a gun, on November 17, 1941. He said, before joining the Nazis, that for the sake of aviation he was willing to team up with the devil himself.

Using the method of myths and archetypes in the context of Ernest Udet is very effective. It allows to connect different narratives, such as cinema, war, aviation, hero, propaganda, artist, leader, cult of personality, popular culture, and more. Mythology allows for a comprehensive characterization of the Nazi regime.

The cult of personality of the leader, and other propaganda heroes, was one of the salient features of the fascist regimes. One of the early multidisciplinary stars was Ernest Udet, the idol of the masses who was in the spotlight throughout the period between the two world wars. He was: a pilot from his youth, a war hero, a stunt pilot, a cartoonist, a playboy, a media star, a film actor, an advertising brand, a propaganda character, a character to identify with, and an immortal. Udet turned his life into a kind of absolute work of art. His private and public life could not be separated. Udet's actions lost to the importance of his image in public. Fiction and reality began to mix. In this way, many public impressions about him have been strengthened again and again.

Udet as an icon shows how far the magic of flight can go. He was aware of the influence of his name. Advertising companies have been sponsored for various products. The Nazis made good use of it in their propaganda service. Whether a Nazi believer or not, he has rallied to their service. In the media in Germany and abroad, his name was carried as one of them. He did not do this to be rewarded on flights or for advertising purposes, but flourished in a very senior military career. His suicide was disguised as an accident by the regime, because otherwise the image blow would have been too great. His funeral was one of the most glorious. It was an unforgettable Hollywood-style production, with the Fuhrer saluting his body in the Burial Hall of the Heroes of the People, and the Reichsmarshal in a long eulogy, after which he marched behind the coffin with a large honor guard.

Udet's death could have brought an end to his popularity. Very few heroes continue to live in the memories of people beyond their deaths. But the play about him became a blockbuster about the mythological battle between the archetypal characters of the general and the devil. His character in the play is not Nazi. At worst he is a careerist. The mixture of imagination and reality made him a tragic hero after his death. The Fighter pilots from World War I are immortalized after him in many aviation films made after World War II.

Karl Zuckermeier, a Jew who converted to Christianity, was one of the most famous playwriters and screenwriters in Germany between the two world wars. He was also a good friend of Ernest Udet, from the time of their military service, until his escape from Germany after the rise of the Nazi regime. Zuckermeier learned about the suicide during the war, while living in the United States. He decided to write a play about the man, under the title "The Devil's General". The play took the stage in Germany in 1947, was a great success, and was performed thousands of times. In 1955 a successful film based on the play was also produced.

The film is in black and white, very stylish, and based on quick dialogues. The character of Udet is played by the tall and handsome actor Kurt Jorgens. The film ostensibly depicts the last days of Udet's life, General Haras in the movie. At the beginning Haras is a very popular general, and the potential leader of Germany. Senior SS officials Seek to connect with him to create a dominant power center, and a beautiful young woman seeks his friendship. He himself is aware of his power.

The first half of the film takes place entirely in a lavish party in is lavish apartment, where Haras hosts his friends, but the SS. Listens using hidden microphones. The guests are beautiful, the atmosphere is great, and the event also forges romantic relationships. The presence of his patron the Reichsmarshal is covert but powerful, because Haras is called to telephones  from him. In the back room, Haras helps a couple of Jewish acquaintances to escape. An SS general, an outwardly kind man, comes to visit. He raises the question of the number of airplanes that recently crashed following unknown technical malfunctions. The subject is the responsibility of Haras, and the general invites him to join Himmler to solve the problem by joint forces. Haras rudely refuses. This is where the chain of events that leads to its end begins.

Haras is imprisoned for many days in order to scare him. After his release he discovers that Germany has meanwhile declared war on the United States, and realizes that this is the beginning of the apocalyptic end. His loyalty prevents him from escaping, and he tries to solve the mystery of the crashes. He travels to the military base to check it out for himself. The SS Are following him. He takes off for a test flight together with the engineer in charge. Seconds before a crash, the engineer turns a handle stuck in the cockpit, and so Haras realizes that he is the man responsible for the accidents. After they land the engineer tells that he caused them in order to try to get Germany back on track. Haras, for whom this is the chance to purify his name, nevertheless decides not to do so. When the SS general Comes in and asks him, for the last time, to join the new order in the great and new homeland which is under construction, Haras tells him that the initials of the word "Father Land" are satanic: war, terrorism, and concentration camps. He then takes off again alone, and dives and crashes to his death.

The richness and dynamism of the play and movie created reactions in the audience, which can be compared to those evoked by the first fighter pilots. The simplistic myth continued to exist in the audience, and even brought on other important layers: the pilot became a general, who is the perfect incarnation of the warrior hero archetype. He also became the archetypal Scarifying Savior. Haras is embodied as an archetypal guide, with a truth that is revealed in an internal moral decision and not in the external reality. The play evokes a nostalgic sense of Germanism, masculinity and heroism. It also casts doubt on the question of the legality of moral resistance, which is contrary to the ideal of national identity.

Zuckermeier understood the negative impact of the play on the public, and warned about it, but the pilot myth overcame it. The original figure of the devil, or his demonic powers, do not appear. The characters and their actions are all human. Haras maintains a dialogue with Satan's messenger. The apostle, who is a central character in the plot, is the general sent by Himmler, with a kindly appearance, his purpose is to recruit Haras into their ranks. He does so in a friendly manner until the last minute.

A subtle mention of the Holocaust is found in a scene in which two elderly Jews commit suicide at the train station, but the real act of Satan, according to the narrative that develops throughout the plot, is actually the sabotager of the planes, who also caused Haras' son-in-law to die. Haras confronts the terrorist engineer, in a way that makes viewers think he is the devil.

The Devil and the General are an incarnation of the archetypal duo "The Magician" and "The Superhero". They highlight the Gordian knot between myth and aviation. The suicide of Haras highlights the moral dilemma involved, thus broadening the horizons of the discussion of Nazism.

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Ernest Udet chapter 4 - Myth, Aviation, Cinema, and Fascism

 

A. Manfred von Richthofen - the first mythical pilot 

in late 1917, in an attempt to raise civil morale, significant propaganda film collections also began to appear in Germany. One of them was the 10-minute production called "Pilots on the Western Front." In its first part, the film showed filming of enemy trenches, attacking observation balloons, and dropping small bombs. The second part focused on the air heroes, Imelman, Bolka, and even Herman Goering. The main theme was Richthofen. He is seen in several poses. With his dog, laughs and jokes with other pilots, and hosts a captured British pilot. Everyone looks relaxed and happy. The film ends in an air battle that ends in a British plane being shot down. The message is clear. This is quality propaganda for the elite corps, the young and safe eagles of the Second Reich. Substantial footage of the band remained, and it is scattered among documentaries about them, such as: The Red Baron: Master Of The Air. 

In his best-selling autobiography, Richthofen portrays a social, friendly, idyllic and ideal, authentic, charming figure, especially suited to young people before enlistment. He defines himself primarily as an athlete: a rider and a hunter. The autobiography is a key document in the design of the icon. His aura was so great that after he was finally overthrown, in April 1918, even the Allied news diaries devoted extensive coverage to him. His early and undecipherable death made him a myth. Generations of experts have tried to solve the question of how he was overthrown. However, the legend began when, since the beginning of 1918, the High Command systematically portrayed him as the example. 

The young and brilliant lieutenant was to serve as a symbol of German militancy and the desire to succeed, at a time when it was also difficult to persuade young people to become pilots. He was supposed to remain the invincible hero forever. The elite felt insecure, and received compensation in a military culture where hunting and warfare skills were highly valued. Richthofen's death, like his life, embodied many changes in the European aristocracy that had taken place. It is no coincidence that the men who fought in the colors of the Knights of the Flying Circus were descendants of the men who fought in bright colors, as the warrior elite of the Middle Ages. They grew up to see themselves as socially and militarily superior to ordinary people.  

After World War I, at a time when the United States, Germany, Britain, and France made only limited reference to the subject of air warfare, it was inevitable that Germany's most important war movie of the period would be: ''Richthofen, The Red Knight of the Air'' [1927]. It was an interesting mix of reconstructed footage from his career, combined with newsreels material. This film ends with the state funeral procession held for him in Berlin in 1925, which was the largest in the history of Berlin. German Air Force Day is set for the date of his death.

B. Ernest Udet - the second mythical pilot

Richthofen added Ernest Udet to his ranks when he was already a squadron commander, and shot down more than 20 planes, making him a star in his own right. The chance to fly with Richthofen was unstoppable for him. After Richthofen's death, Udet became the temporary commander, with the highest number of scores. But an instruction came from above that the regular commander would be Goering, who came from another squadron, and was also a much less good pilot, and not so well-liked. Competitive Udet may have been personally hurt by this.

Young Ernest Udet, born April 24, 1896, with the Medal of Heroism "Pour Le Merit" at the age of 22, also received his own autobiographical book during the war, published in August 1918, a few months after Richthofen's death. The content also appears in his late and extended 1935 autobiography: ''Mein Fliegerleben'', which sold 600,000 copies in its first year.

The debut book is called: ''Kreuz Wider Kokarde: Jagdflüge Des Leutnants Ernst Udet'', and the chapters mostly describe his air battles. The name of the author on the cover is his. Inside the book are many beautiful paintings of the flight experiences in the war. It is likely that they were painted in colors originally, but due to printing limitations they were printed in black and white. The technique is combined: photography, painting and drawing. It is clear that the painter is Udet himself, although there is no signature on the paintings. This can be discerned by the subjects of the paintings, and by the wavy drawing line, which has become the central feature of his cartoons style.

The name of the book, which in translation is: "The Cross Against the Lily", is important. The "cross" was the symbol on the wings of German planes. The "lily" was the symbol of the color circles on the wings of French planes. Both are archetypal symbols of wholeness. But here the cross is, also, the sight of the machine gun, and the lily is the target board mark. When the cross is placed above the circle, an optical illusion of a spinning propeller, or swastika, is created. 

Between 1919 and 1929, before becoming a movie star in "Mountain Movies", Ernest Udet was mainly a stunt pilot, who made a lot of money and became an international celebrity, thanks to many airshows he held in front of a large audience across Europe and later USA. He was of great value to Nazi propaganda, and Goering recruited him and made him a senior general and in charge of the fighter airplanes industry.

C. Aviation, Nationalism, and Popular Cinema

Memory of the First World War was built through the myth of the war experience, which gave it legitimacy by changing the true picture of reality. The image engraved in the collective memory, of the romantic fighter pilot, disguised also the terrifying reality of a World War II pilot, capable of destroying entire cities. Private and collective memory is built and is not copied. This construction is done not alone, but out of social, cultural and political discourse. That’s why aviation filmmakers, most of whom were air crews during the war, shaped their memories in less frightening terms. They sought to make their experiences less painful. But the roots of the stereotype lie in the war propaganda. These films had a great impact on the way the public thought about aerial warfare, and the way new aviation films were created. They have created a model for future generations, and an iconography that exists to this day. 

The golden age of aviation, from the early 20th century to the 1950th, coincided with the golden age of cinema. Cinema developed just as quickly and dramatically as flight, and both quickly established themselves as the most exciting and popular form of leisure and activity, while becoming an incredibly effective channel for disseminating ideas, attitudes and qualities that society deserves to preserve. Very quickly the first films reflected the Gospel of the Wings, according to which air transport would bring with it a golden age of progress, and the pilot is a romantic and chivalrous figure. 

In the interwar period, folk cinema still paradoxically promoted these familiar themes, but also took advantage of fears of an aerial bombardment in the next great war. At the same time, cinema during this period used photographs of the pilot and the aircraft for nationalist propaganda, which showed achievements in this subject as the spearhead of the national technological initiative. 

Aerial propaganda films were more important in countries where national pride suffered a blow as a result of the war, and they were defeated or angry. In Germany, one way to achieve this was technological progress, which was seen as proof of recovery and superiority. For example, the "Missile Madness," which began in 1923 and peaked in 1929. During the 1920s, rapid airplanes development gradually began to offer more practical insights for nation-building. The heroic status of the air crew, the rapid spread of gliding and flight sports clubs, the growth of commercial aviation, the success of the national company Lufthansa, and the almost fanatical interest in the flights of the new zeppelins, all testified to the popularity and public support. 

After 1918, German cinema quickly re-established itself as a serious enterprise, and within five years its output was lower only than that of the United States. The aviation films, however, reflected little of Weimar's democratic spirit. Most of the films were propaganda works. Under a spectacular cover they attacked the enemies of the nation and praising national achievements. The aviation films were a clear channel of self-praise. The struggle of the airplanes against the forces of nature depended not only on the technological superiority, but on the moral qualities of man in the cockpit, the "new man" who symbolized the best in the nation. 

The first aviation film after the end of the war was: ''Ikarus, Der Fliegende Mensch'' [1918]. The film was created as a patriotic film before the end of the First World War, but was re-edited and distributed after it, as a film with universal messages. The protagonist of the film is a young German inventor of a revolutionary engine, which the French covet, and enlist a beautiful countess to seduce him. The young man becomes an outstanding fighter pilot in the war, falls captive to the beloved Countess, but is rescued and at the end of the film he also reconciles with her. This impressive film is a romantic and light-hearted aviation-cinematic spectacle. The title of the work, the plot, and the timing, express the Gordian knot between aviation, cinema and myth.

Another film is: "Flight to Death" [1921], which deals with a flight contest. A major attempt to glorify the new man was Richthofen's biography from 1927. The film was distributed in the United States with a soundtrack. Even more successful were Ernest Udet's appearances in Arnold Punk's popular mountain films.

The Nazis did not enforce full control of the film industry until 1942, but the remaining filmmakers in Germany regularly reflected on Nazi ideology. Through UFA, the German huge nationalized film industry, there was a continuity of productions from the 1920th to the 1940th. Aviation films, in particular, had the continuity and clear development of patriotic themes, from productions in the Weimar period to those created after 1933. Example is Carl Ritter, who was an influential Nazi producer and director, beside being a veteran fighter pilot. He made several important aviation films during the period of 1920th-1940th.  

D. Aviation, Fascism and Mythical Modernity

A clear symbol of mythical totalitarian modernism in Nazi Germany and Fascist Italy was the airplane. The linguistic symbols and metaphors associated with aviation discourse, its perception and interpretation, are many, and the sources that can be relied on in this context are very numerous. They include important cultural events, artwork, books, magazines, propaganda products, and more. Gabriel D'Anoncio and Futurism are of great significance as a distinct model, thanks to the respectable place they occupied in the overall cultural discourse. It was not the aviation itself, but its connections, not the pilot himself, but the concepts involved, that were the focus of attention. They served as a means of revolutionary liberation from the burden of the past. The social agenda, which has been the focus of attention in fascist regimes, is clarified through the narrative of aviation heroes, and through the vision of the new man that fascism has tried to make a reality through an anthropological revolution. The protagonists were models and prototypes that citizens were required to use in order to shape their lives. The norms and values ​​that the media published as embodied in those heroes permeated the social reality, and the world was understood according to their register. The plane and the pilot were totems, in the fullest sense of the word, of icons with archetypal characteristics, of modernity in fascist regimes. Indirectly, they reflected the desire for order. Directly, they were the embodiment of modernity. The spiritual reciprocity between fascism and aviation was unequivocal. It has created mythical modernity, as opposed to liberal modernity. 

Aircraft aroused admiration, enveloping those who flew them in an immediate aura of daring, vitality and youth. The flight was more than a forward movement in the air. The plane was more than a means to an end. The flight experience was seen as the ultimate empowerment of life. Aviation has become the form of the new era, on which it has made its mark. The pilot was a new kind of person. The German pilot was not just a new German man. The model deserved to have a formative impact on the entire world. There is no machine that requires so much concentration and willpower as the airplane, and the pilot knows what it means to control. Every pilot is an innate fascist. In this way the necessary spiritual connection is created between aviation and fascism. The cultivation of the new man was one side of the fascist regime and the elimination of the others was the other side. 

Hitler and Mussolini had a passion for speed, and powerful planes and cars where tools for their call for action. Moreover, the airplanes provided a powerful symbol of military force. They described the German character. Accordingly, the Nazis worked to make the Third Reich air-conscious, and thus one capable of fully dealing with the challenges of the 20th century. When Goering declared "We must be a pilot nation", he declared the Nazi commitment not only to training the reserves of military pilots, but also to assimilate and cultivate the moral values ​​of aviation, which were courage combined with self-sacrifice and service to the national community. Through a special ministry, they reorganized the aviation clubs as the "German Aviation Association", took full control of all activities on the subject, and began planning the establishment of the Luftwaffe - the new air force. Hitler created a dramatic dynamic image of himself through the personal use of air transportation. 

Nazi air propaganda began seriously in a film about the Nazi Party Conference in Nuremberg: ''Tag Der Freiheit - Unsere Wehrmacht'' [1935]. Lenny Riefenstahl made this film, which celebrated the Nazi armament program, announced in March 1935. The film deals with the political conference and military demonstration that took place at the assembly, which introduced the new mechanized army, and the concept of the ''Blitzkrieg''. The Air Force and Air Defense are given central screen time, and the film ends with a flight in a swastika formation.

Propaganda was strengthened in the cinematic news diaries of the period. One newsreels from 1936 revealed the new types of aircraft in the army. The most interesting scenes deal with bombers. The background music is threatening, and you see bombers loaded with bombs. Bombers performs maneuvers and they all hit their targets on the first try. The film ends in a mass flight, when the announcer announces: "The German Air Force is strong and proud, ready to maintain German peace and protect the land of the ancestors."  

The accumulated imagery was strong enough to arouse widespread fear in other countries, allowing Hitler to use the Luftwaffe threat as a political weapon in his foreign policy during the late 1930s. Air operations during the Spanish Civil War, and in particular the attack on Guernica, which was widely covered in film diaries, confirmed the power of the Luftwaffe and the threat it posed.

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Ernest Udet as a star in German mountain movies

The mountain movies were a substitute for the war films. They were a face of masculinity and purity, according to which the conquest of the mountains was a symbol of the personal power, in a world that had lost direction. They provided a description of human control over the forces of nature. The addition of aircraft, especially when Ernest Udet flew them, made them much more significant, linking war, the conquest of nature, and aviation, in a symbolic relationship. His appearances in films were a constant reminder to the audience of the romantic heroism of the pilot of the war, and a means of using the character, who, through "will", controls nature and technology. They praised the aircraft as a tool by which human will power was expressed, and as a model of technological achievement.

The mountain movies greatly influenced the design and inculcation of Nazi ideology. Following the First World War, the German psyche was debating the dilemma of wanting to break free from the yoke of the tyrannical regime in the face of the effects of personal chaos. One of the tracks they chose was this genre, which was exclusively German, and which reflected a wide-ranging sporting activity. 

Filmmaker Arnold Punk discovered the genre and had almost a monopoly on it until the end of the Weimar regime. Punk was a geologist by profession, and a mountaineering enthusiast. He even sought to spread his faith in the towering peaks and dangerous climbs on them, and relied on actors and technicians who had themselves become excellent alpinists. Among the best known were Lenny Riefenstahl and Lewis Trunker. The mountains as a symbol were already an element in expressionist cinema, but he was interested in real mountains. 

Punk initially created, in the years 1920-1923, a trilogy that showed the beauty and joy that is in mountain sports, and this in spectacular field photography, which was a stark contrast to the typical studio films of the period. Punk later showed greater interest in combining the emotional passion in the sights of the peaks and abysses, and in the human conflicts that arise in distress. Each year brought with it another mountain drama. 

The message conveyed by Punk matched the mood of many Germans, who even before World War II found refuge in the Alps from their daily routine, and climbed to the peaks in order to look down on contempt. They were more than athletes. They were zealous believers, who performed cult rituals. They were characterized by heroic idealism which, as a result of blindness to more tangible ideals, was embodied in this tourism industry. Punk developed the mountainous survival narrative further and further, bringing it to the pinnacles of fanatical and nationalist emotion, in a way that overlapped with Nazi ideology. Scenes of heroism and heroic sacrifice, civilian and military, became dominant. The protagonist in them was released from his hesitations, and the transformation that the audience underwent was one of release from complications after a temporary paralysis attack created by the camera stunts. The development of this narrative reflected, above all, the pro-Nazi wave that intensified in German cinema in the early 1930s. 

Lenny Riefenstahl continued to star in Punk, inspiring them to her films, among the first of which were also mountain films, in which she also starred in these. The mystical-primitive experience stands out, such as [1932] ''Das Blaue Licht''. In this film Riefenstahl directs herself, as a reclusive Italian country girl suspected of being a witch, as she climbs the mountains alone, and the village men who try to follow her fall to their deaths. On full moon nights she reaches a cave full of crystals that emit blue light. She befriends a German painter, who discovers the cave, tells about it to the villagers, who loot it, thereby causing her suicide. 

Luis Trunker, another Punk star, also turned to an independent career, starting to create and star in his own mountain movies. In Trunker, military heroism stands out, as in [1931] ''Berge in Flammen''. The plot of this film is about two mountain climbers, an Austrian and an Italian, who before the First World War climbed the Alps together, but in the war fought each other. 

The sacred mountain stars in many traditions and myths of all religions. It is related to the hero archetype. Of the four elements, it is most closely related to the element of air. Nietzsche is considered the mountain and air poet. The color of the snowy mountains is white, the color of light in which all the colors unite. White symbolizes the innocent primordial state, and the final state of integration. The films of the time were still shot in black and white, which highlighted these mythical qualities. After the white color comes the red color, the color of the Nazi flag.

All of these contributed to the fusion of the mountainous subculture with the Hitlerite subculture. The mountain movies were a response to the military and economic crisis of the 1920s, which was particularly pronounced in the field of aviation. They were used to promote aviation and militarism. The pilot was also used to redefine the masculinity figure, which is based on self-confidence, iron nerves, and ignoring dangers, traits that were also typical of those of the mountain climber. Hitler established his spacious vacation home, with a small movie theater, in Berghof in the Alps. Berghof became a well-fortified compound, where his associates also lived and his headquarters operated. On a cliff at the top of the mountain was another small residence, called "The Eagles' Nest", which was a place for solitude. Hitler did not engage in skiing and dangerous mountain climbing, but he did a lot of hiking on the trails that were paved on the mountain. 

Ernest Udet was already a well-known character when he started acting in mountain movies. At the same time, the importance of aviation has gained much momentum in public opinion. Arnold Punk was not naive on the matter. He admired Udet, and knew that his appearance would open a chapter of military history in his mvies, with all the consequences. The geopolitical developments of the period were intertwined with the debate over the future of aviation. The restrictions imposed on Germany under the Treaty of Versailles were in stark contrast to the development trends in the Allied countries. The number of German aircraft it in the 1920s was small, but the Germans did not interested so much flying machines as in the pride involved, the sense of power, and the unstoppable desire. Aviation was a recipe for education, and shaping a future nation, prior to military armament. Like the 19th century railway revolution, the plane was also designed to pump blood to the nation's arteries, unleashing its potential. From here it was also a short way to the theory of ''Living Space''.

The airspace created new possibilities for Germany's aspirations for power and self-defense. All that was needed for that purpose was a determined will, along with appropriate propaganda, that used the most powerful tool at its disposal, cinema. The pilot became the archetypal colleague of the mountain climber. Together they left the viewers feeling hyperactive. The pilot was not just a knight. He was an industrialist, well aware of the power of machines in modern life. He symbolized the new pace of life, and the fusion of man with the machine. 

Comparing the qualities of the modern pilot to the qualities of a mountain climber the balance clearly leaned in favor of the former. Punk movies between the years 1929-1933 are not just examples of the continuity of the genre. They are an expression of the social stalemate crisis, which could be resolved through the pilot's liberated dynamics. The presence of the aviation star, along with the aerial photography, enabled the broadening of horizons, which erases all claustrophobia. With Udet's help, viewers regained the sense of mobility they had lost. He does not look like the ideal Hero. He was short, only 160 cm tall and round, but he was the epitome of professionalism in aviation.

In the film [1927] ''Die weiße Hölle vom Piz Palü'', despite the recurring narrative in the Arnold Punk movies, there are significant upgrades compared to his previous movies. The heavy and extroverted symbolism of his previous works, as in the [1926] ''Der heilige Berg'', is replaced here by a more realistic and vital approach. The mountain is a real mountain, not a metaphysical place of challenge and salvation. The result is more realistic and compelling. However the plot narrative is similar, and will repeat next time as well. At its center are a man and a woman, and their struggle to get out of a snowstorm with their colleagues. The storm causes them to make mistakes in their way, and in addition disrupts the minds of the weak among them. They try to escape on their own, but the result is a fall into the abyss. After the rescue squad fails to arrive, despite its many efforts, it alll depend on the pilot in the air. After lengthy searches, he finds the trapped people and helps rescue them. The pilot is not part of the social circle of climbers. He arrives quickly from a distance, from the big city, and has the resilience and ability to be resourceful in lost situations. ''Die weiße Hölle vom Piz Palü'' was an artistic and commercial success, returning pride to German cinema. At the same time, he promoted the aircraft, as a machine with performance capabilities that no others have. The movie was released during the stock market crash in October 1929, and is one of the last silent films. As part of the mountain films starring udet, it combined also the transition from silent film to sound films, which created a severe crisis in the German film industry. 

[1930] ''Stürme über dem Mont Blanc'' is the second of four mountain films with Ernest Udet as the rescue pilot. He won many compliments for his role, breaking records for daring flights over the landscapes of the Alps, which gave the movie its dramatic power. The compliments fit into the overall critique, praising the physical and cinematic achievements that have reached highest peaks. This movie, like the others, emphasizes the vital need for speed and agility that the aircraft imparts, as opposed to the slowness and awkwardness of mountain climbers. The plot is about a meteorological station manager at the top of the mountain, caught in a storm and slowly freezes to death, but manages to broadcast a call for help. The rescuers are delayed due to the storm, but the pilot comes to the rescue. The criticism in the New York Times was: ''Steel cliffs rise in the snow, the clouds pile up at their feet ... glaciers intertwined in cracks. A plane is struggling in a path over the mountains, in the middle of a fierce storm." The power of the machine and the will of the pilot are learned from this review.

The success of these two movies convinced a German studio to collaborate with Hollywood, and create the [1933] ''S.O.S Eiesberg'', which takes place in Greenland. The views of the sea glaciers replace the views of the Alps. The plot formula is similar, the director and crew are almost identical, and even the names of the plot heroes are similar. Udet appears by his real name. In this movie, a delegation sets out to search for the lost diaries of an ice-currents researcher. The expedition gets stuck on a floating glacier, and personal attempts to reach the shore, to the nearby Eskimo village, fail. The pilot of the team, who is the girlfriend of the head of the delegation, and played by Lenny Riefenstahl, also fails to rescue them. The one who finally does it is Udet. Riefenstahl is also the female protagonist in the previous two films with Udet. In this last movie of him with Punk, the plot is less important. The main protagonists are nature and the airplane, and there is almost no dialogue. Punk designed a huge nature painting, over which technology hovers. It was the main source of success. The natural landscapes are revealed in full drama through the pilot's constant search for the survivors. 

The last mountain film in which Udet participated was [1935] ''Wunder des Fliegens: Der Film eines deutschen Fliegers'', created after becoming an active Nazi. It's a propaganda film about a young glider pilot, the son of a war pilot who perished in the war, who crashes in the heart of the Alps, and Udet is called to rescue him. He is the main character, and recreates his resume. The young pilot actor role is done by the one who starred in the best-known Nazi propaganda film, produced by Carl Ritter, [1932] ''Hitlerjunge Quex''.  

''Wunder des Fliegen'' was created at the initiative of the Luftwaffe. The pathetic and emotional message is prominent. Praises for heroism, fame and adventure appear again and again. Udet can be found in almost every scene. The hero of the war also indulges in memories of the past by a collection of images displayed in a long scene. In the flashback, Richhofen can also be seen for a short time, while figure is slightly dwarfed compared to Udet. The aerobatic stunt pilot Udet appears in many scenes. Various sequences from his previous movies help serve this purpose. 

All flying skills in mountain movies are important, but the main skill is aerial observation. Again and again the pilot is seen scanning, with his sharp eyes, the surface of the landscape, in search of a sign of life of the survivors, lost in the snow. This can be linked to the Nazi skill in espionage. Reinhard Heydrich was a fighter pilot who specialized in reconnaissance flights, while having a secret information folder about every important figure. 

Between ''Stürme über dem Mont Blanc'' and ''S.O.S Eiesberg'', Ernest Udet also planned to participate in an international production of a flight film over Mount Everest. After this plan did not materialize, in 1931 he made a filmed flight journey to the African steppes, creating a film and photo album under the name: ''Fremde Vögel Über Afrika''. The film consists, for the most part, of aerial footage of wild herds in Africa as they roam and flee across the savannahs. The filming became a real adventure, after the crews ran into many technical glitches. Short excerpts from the film are combined in the 26-27 minutes of the movie ''Wunder des Fliegen'', together with scenes from ''S.O.S Eiesberg''.

NANO SPY DRONE Mosquito Drone from U S Military

Myths and archetypes in cinema - the case of Ernest Udet

Many central archetypes operate in the individual psyche and society: the feminine-masculine, the evil, the almighty hero, and the Sacrifice Savior. The archetypes operate in the woman's psyche as in the man's psyche. As reality becomes more complex, the need for archetypes becomes more important.

Cinema is a place where the myth clearly stands out. We need heroes to identify with, and film actors sometimes become a model for human lives. Famous actors are like cultural archetypes. They guide us over time as a stable mythological model, where they are more important than the various characters they replace on screen.

Many actors, because their personality is built around the persona of the actor and not around their true self, fail to form a strong enough personality. The imaginary may also cause the actor over-pride and arrogance. In many cases, the adoption of the character of the false hero is very easy, for the actor and the fans, but the disillusionment is very difficult. This is also because commercial cinema underestimates the depiction of grim reality.

Ernest Udet was an example of such a star. He, too, was endowed with a personality that was not strong enough in relation to the persona of his actor. In many cases, the adoption of the character of the false hero is very easy, for the actor and the fans, but the disillusionment is very difficult. The original myth that is appropriate for comparison in the context of the Nazi regime is the legend of Daedalus and Icarus.

Modern cinema deals extensively with archetypal-mythological models of male-female relationships. The anime and the animus strive in these films to connect into one complete being. In every culture we will find that the myth revolves around opposing pairs, which are binary pairs like life-death, man-god, heaven-earth, blessing-curse and more. The inclusion of opposites is the key to individuation, the wholeness of the self, which is the goal of every individual.

The archetype of the opposing duo has deep roots in popular and military culture: the brotherhood of the warrior duo, the warrior bond with his weapon, and the brotherhood of the unit and the nation. The nature of close ties is flexible. In Udet's case, he was in competition with Herman Goering for the role of squadron commander and failed. Later, during his Nazi career as a senior general, he was in a contest, in which he also lost, against Erhard Milch, for his proximity to Goering and control of the Ministry of Aviation.

Each archetype also receive a negative aspect, which may take over. The magic of evil is a magnet for filmmakers. In the mountain movies, in which Ernest Udet got his fame as a hero pilot, the captives must be rescued at almost any cost. In the face of demonic evil forces one must embark on an active and collective struggle of survival. If at the same time the protagonist manages to maintain a photographic and human brotherhood, and inner forces develop in him, the journey is an initiation into life.

An archetypal duo associated with evil, and an important component of the fighter pilot myth, is the "hunter and prey". Richthofen described in detail his teenage experiences as a cavalryman and hunter, as the primary basis for his flying skills and military leadership. Herman Goering was filmed as a proud pilot alongside a plane he shot down. Hunting is proof of masculinity. It legitimize the abandonment of the sacred connection to others. It encourages a violent mentality. Hunting is also an expression of the ability to disengage from religion.

The military hero embodies the best qualities that the younger generation seeks to instill. The warriors were a focal point of admiration in every generation, in their lives and deaths. Their qualities were focused on one character, who was an exemplary public and a savior, and took on a mythical character. A particularly revered hero is a superhero, omnipotent, with superhuman powers. Behind the character of the superhero is the personality of the magician archetype, powerful, omnipotent, and with a variety of appearances. A situation in which the "I" identifies with the archetype of the magician creates something that does not belong to him. It's inflating the self beyond its dimensions. Man becomes in his own eyes a supreme man. Archetypes have intense and non-personal energetic power. The temptation to be drawn into identification with the magician's personality is inversely related to self-confidence, ego power, and self-awareness.

Germany's famous aircraft squadron in the First World War was nicknamed the "Flying Circus". Its pilots were among the elite of German officers, who adhered to military and moral code, which was expressed in strict adherence to military norms and integrity. Many of them came from the ranks of the German nobility. Richthofen belonged to a noble family with Prussian military heritage. The flying circus officers were unable to put on the wizard mask. The aura of the superhero did not suit them. The trickster archetype suited. The cunning clown, who is a part of magician archetype, was suitable for their image in the general population.

The German society in crisis needed a leader to connect the character of the trickster to the character of the hero. This was Adolf Hitler, who understood his role well. The former corporal was able to inflate his ego without being blamed. This attracted to him and to the Nazi movement all the shadow forces, which are expressed in an aspiration for honor, control, superiority, competition and power, and are characterized by exploitation and deception. The parallel between Hitler and the archetypal magician figure exists in the context of other archetypal figures, such as the almighty hero, the trickster clown, the hunter and the hunted, and the Sacrifice Savior. All are popular in the German folk tradition.

One of the dangers of being the magician archetype is narcissistic, arrogant and forceful arrogance. Goering's pompous figure, Hess' lust for control flying to Britain on his own, and Udet's debauchery were all expressions of this. As long as the hero has no other way to deal with life, he needs his grandiosity. But the magician denies his feelings, and operates in primitive mechanisms of denial and division. He therefore avoids the integration of real emotions, and a real adaptation to reality. As a person he is superficial and lonely. He is connected to technology as compensation. He is a technological hero. He is stuck in a kind of adolescence. His personality is characterized by immature idealization, and immature faith in the future, from which idealism and over-boldness that know no bounds may develop.

The comic books with the blatant graphic illustrations are one of the important sources for the super heroes of the movies. For example, Batman and Superman were heroes of comic books before becoming heroes of movie series. Today's superheroes began as illustrations, and received most of their grandiose design and power in cinema. Ernest Odet was a gifted cartoonist. Carl Ritter, the important Nazi filmmaker and agitator who made nearly a hundred films, and was also a fighter pilot and flight instructor, started as the owner of a graphics studio. Hitler was a painter, and his graphic ambitions were the source of his spiritual power.

A major motif that characterizes comic book characters like Superman, Spiderman and Batman, is that they have super-virtuoso powers. Their abilities express the urge to break free from the limitations of human existence and take off beyond them. The mythical motif of supernatural flight expresses it. The desire for super natural flight pushed humanity on its path to evolution. Aviation joined this desire. Early commentators used the mythological legend of Daedalus and Icarus as a metaphor for describing its achievements. The Nazi's miracle weapons, on which they hung their hopes, after the great failures of the Luftwaffe, were also mostly aviation: the jet, the rocket interceptor, the cruise missile, the ballistic missile, the long-range bomber, and more. The "bad guys", the Allies, had flying abilities that turned out to be even more powerful. As such, they challenged the Nazis even more.

One can look at superheroes from the perspective of a narcissistic disorder. Of lack in parental love, which creates a bond in creating a relationship and empathy for other and reinforces a sense of insecurity, seeking compensation in a fantasy about. Modern consumer and impersonal society encourages this fantasy by fierce achievement competition. The impulse is not an authentic inner fulfillment, but a victory over the other, who is sometimes also endowed with the same superpower. As a result of this extremism, the bad guys are utter villains. The grandiose urge may excite all evil forces in the psyche. 

One of the other dangers of the magician archetype is over-narcissistic, arrogant and forceful pride. As long as the hero has no other way to deal with life, he needs his grandiosity. But the magician denies his feelings, and operates in primitive mechanisms of denial and division. He therefore avoids the integration of real emotions and a real adaptation to reality. As a person he is superficial and lonely. He is connected to technology as compensation. He is a technological hero. He is stuck in adolescence. His personality is characterized by immature idealization and immature faith in the future, from which idealism and over-boldness that know no bounds may develop. Evil Hitler, Goering's pompous figure, Hess' lust for control who flew to Britain on his own, and Udet's debauchery, were all manifestations of this.

The negative hero is a double of the positive hero. They wear masks, which hide their true identity. They run away from painful emotions and translate them into an urge for revenge. The Nazis wore masks. They hid, for example, the rearmament of the army and the re-establishment of the Luftwaffe, as much as they could. They deceived the leaders and peoples of Czechoslovakia and Austria and conquered their countries. The Holocaust took place under the guise of fraud, when the victims were allegedly sent to labor camps, and up to the last minute did not really believe that this was their end.

The evil hero is a double of the good hero, as in the split of "Dr. Jekyll and Mr. Hyde", which is one of the descriptions of Nazi society. The cognitive ability to sharpen contradictions is the base for creating symbols. Every archetypal element in human life is double-faced. Each archetype also receive opposite aspect, which may take over. In many mythical stories, the source of evil is the clinging to a particular object as the sole source of satisfaction from the ego's desires. In the "Ring of the Nibelungs" myth, for example, the ring allows him to be enslaved to greed, and is therefore eventually thrown back into the waters of the Rhine. In other stories, the source of evil is the unbearable, governmental, parental or communal hierarchy.

The magic of evil is a magnet for filmmakers. The evil theme in Ernest Udet's films is that of the egocentric desires. In all the mountain films, the protagonists' feelings regarding the rescue of their loved ones, who are trapped in the storm, are described in detail. The answer is the same in all movies: rescue the trapped, even at the cost of sacrificing life. In the face of demonic evil forces one must embark on an active and collective struggle of survival. If at the same time the protagonist manages to maintain his humanity and positive inner forces are developed in him, the journey is an initiation to life.

The Nazis, in the name of this opposing egocentric desires, became addicted to the forces of control and power. They preferred the mythical principle over human existence. They set out on a crusade into heaven, which was also a crusade against the infidels in their faith. Therefore in Udet's case, the evil ego from which he was freed in the movies reappeared in his failed private life.

The Comics magazines are  an important source of the movies' mythological heroes. For example, Batman and Superman were heroes of comic books before becoming heroes in movies. . The comic book heroes draw power from small, rejected animals, which have a hidden power: a spider for Spiderman, and a bat for Batman. The identification with a weak and mysterious animal allows for a metamorphosis in the hero's soul.

A small animal with metamorphic power is the bird. The young generation of Germany in the Weimar Republic developed state-of-the-art gliders and flying techniques which imitated the flight of birds. They discovered, among other things, the hot air thermals, which birds use to soar in circles. In this way the gliders broke many distance records during the 1920s. Otto Lilienthal, the Jewish pilot who built gliders with wings that mimic the wings of a bird, was immortalized in a magnificent burial shrine.

In fairy tales miraculous events take place that save the heroes. The rescuer can be an external figure, but at the same time the statement comes true: "God helps those who help themselves." Moreover, the path is often more important than the goal. The messages around embarking on a journey are complex. It is difficult to know whether the master is a deceiver who intended to plunge the hero into the abyss, or whether the fall is a way to mobilize mental resources. It is faith and effort that bring salvation. The Red Baron, and the silver aerobatic plane that Udet brought from the United States, were such guides. It was impossible to argue with the Nazi fantasy, because it was part of their ability to survive.

The journey with the guide leads to the theme of the Sacrifice Savior. The myth of the victim is ancient, and has many meanings, both positive and negative. It involves the sacrificial archetype. When a person sacrifices himself, there is an identity between him and the world, and this is the key to a new consciousness. Often self-sacrifice comes as compensation for the sin of pride.

The spirit of sacrifice is one of the qualities of fighter pilots, and it was nurtured by the Nazi regime. Death while flying, in battle or as a result of a technical malfunction, or human error, often occurred at the beginning of the aviation era. The pilots were therefore perceived as sacrificing their lives voluntarily, as Sacrifice Saviors. Richthofen's death made him a myth. The official denial of Ernest Udet's suicide was sweeping, and it was reported that he died in a flight accident. Hitler and Goebbels committed suicide with a cyanide pill. So did Goering at the end of the Nuremberg trial. They have all voluntarily sacrificed themselves. 

Since the Savior Sacrifice motif is a powerful archetype, it emanates from the self even without conscious intention. The shape of the airplane resembles the cross of Christ, which is a major source of self-sacrifice. The Germans were only a few months away from completing the development of their wonder weapons, when a turning point occurred in the war that led to their defeat. The German people were driven, at the very end, by a powerful unconsciousness.

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