in my earlier article for this journal. 4 In that piece, I reviewed in detail a classic German documentary on Nazi cinema-Germany Awake!-directed by Erwin Leiser. 5 The Nazis took control of the highly advanced German film industry when Hitler was named Chancellor in 1933, took control of film criticism and banned foreign films in 1936, and finally completely nationalized the industry in 1937. The film industry was, for the duration of the war, used to promote the Nazi Party and its policies (as well as to provide general entertainment). 2 Triumph of the Will, directed by Leni Riefenstahl (Reichsparteitag-Film, 1935). 3 Gary James Jason, "Ein Volk, Ein Fuhrer," Liberty (April 2007), pp. 48-51, accessed online at: http://www.libertyunbound.com/sites/files/printarchive/Liberty_Magazine_April_2007 .pdf. 4 Jason, "Film and Propaganda." 5 Germany Awake! directed by Erwin Leiser (Erwin Leiser Film Productions, 1968). Reason Papers Vol. 38, no. 1 129 Leiser's film does an outstanding job of showing which Nazi films were aimed at selling which policies. In order to pull worker support away from the German Communist Party (its main rival in its early days), the Nazis produced Hans Westmar (1933) and Hitler Youth Quex (1933). They push the Nazi party line regarding the Soviets (which shifted because the two regimes first entered into a non-aggression pact, but then the Nazi regime violated it), by producing Frisians in Peril (1935) and Bismarck (1940). So as to demean democracy and portray it as weak, they produced My Son, the Minister (1937). In order to promote their historical narrative (which I call the Nazi Historical Narrative 6 ), the Nazis produced For Merit (1938), D III 88 (1938), Venus on Trial (1941), and Homecoming (1941). They promoted with several films their view of pan-Germanism, or "Aryanism"-that is, the idea that citizens of another country who are of German ancestry ("blood") are members of a Greater Germany. The Nazis produced Request-Concert (1940), Victory in the West (1941), Stukas (1941), and Kolb