Kommentar auf Amazon.com: ‚Back in 2011, I already tried to publish several reviews of this on German Amazon. Also regarding the quite similar dissertation of Marcus Stiglegger from 1999.
I guess they were very successfully banned by the same crowd who writes here. I don’t know exactly who’s behind this reaction, if it’s the old authors by themselves – hiding in disguise – or just „fans“ of their work, but I think it’s not funny at all.
Therefore it comes as absolutely no surprise to me, that all three positive reviews here are from the same day. January the 16th, 2013. Two days after this review has been published.
Now there’s even one of those positive ones on Amazon in Germany. They are hardly „academic“ themselves by the way, praising the books in just a few sentences.
But it’s a matter of fact that books like these are cementing certain views on images and prohibiting an open-minded discussion about them for maybe still decades to come. Yet this already stands-out in the title, where they speak with the discriminating term „Low-Brow“. Therefore it seems that they even don’t want to know what this all could mean for „high-brow“ elaborations, those „Cinema and Culture“. Nazi aesthetics and fearful protofascist conceptions are indeed everywhere these days, and actually these books do nothing at all to put them in context. From Miniami Ozaki’s „Zetsuai“ to Hanekes „The White Ribbon“.
Yet they are just denouncing certain parts, mostly from a long by-gone era where certain Film genres were still produced in Switzerland or Canada. Mixing those „explorations“ with obscure (other) „pornography“, fashion, music and so on. They even don’t bother questioning why stuff like this should even get „rehabilitated“.
Later on, this reaction even meant turning myself away from the University of Graz, where back in the day at least one of the contributors of this volume was working there. They are very successful in denouncing, segregating and excluding people who think different on subject matters like this. They are not understanding its integration and metaphor, or discussing its dualism with sexuality. They just think of its audiences as voyeuristic, speculative, sadistic and so on. Denouncing them as dumb, historically unaware, mislead or misguided. All for the sake of a certain realism, protecting an „authenticity“ of the Nazis.
It’s a full-fledged moral war against fantasies. Fantasies that get interpreted in just a single way. All the time. And typically, they are even denying that this has anything to do with the exploration of Nazi aesthetics. After all, this „community“ just seems to be interested in vilifying other people -‚