What Trumpian Apocalyptic Cinema Might Look Like

"While the war effort continued in full force, frivolous subject matter returned to the cinema with a vengeance, as did more defeatist attitudes and melancholy styles.

Any direct references to the present yielded to stories without a discernable time and place.

Within such an illusionist structure, the eruption of the real, whether in the form of particular words or images, proved a constant source of concern. 

For example, the inclusion of documentary material in war films such as U-Boote westwarts! (1941, Submarines Westward!) or Stukas (1941) corroborated the myth of individual heroism, but also drew attention to the difference between the war experience and its filmic representation.

Likewise, in 1940, the commercial failure of the anti-Semitic historical drama Die Rothschilds (The Rothschilds), as well as some audiences' uneasiness about Der ewige Jude (The Eternal Jew), the infamous compilation film by Fritz Hippler, revealed the inherent dangers for filmmakers in relying on all too simplistic assumptions about intended meaning and actual responses.

Despite such problems, the Propaganda Ministry tried to supply war audiences with a constant stream of entertaining films, including many re-releases."

- excerpt from German National Cinema, by Sabine Hake

Steven Spielberg's End Credit in "The Terminal" (2004)

Comedies in Nazi Germany