Nazi Propaganda during the Second World War

During and before the WWII, the Reich Ministry of Public Enlightenment and Propaganda under the minister of Propaganda of Nazi Germany, Joseph Goebels who was Adolf Hitler’s right hand man, produced pro-Nazi and pro-Hitler content of films for the public.
Joseph Goebels believed that films were capable of changing the mindset as well as controlling the minds of humans so he wanted full control over the messages they conveyed and their theme. The National Socialist Propaganda Directorate, which Goebbels oversaw, had at its disposal nearly all film agencies in Germany by 1936.
The Nazi propaganda ministry weighed in on every movie script and casting choice, carefully crafting every moment of cinema in order to make sure that it fit the party's message.
Schools were also provided with motion picture projectors because the film was regarded as particularly appropriate for propagandizing children. Films specifically created for schools were termed "military education."
In theaters, films were shown alongside a forty-five minute newsreel, publicizing Germany’s achievements. Newsreels were explicitly intended to portray German interests as successful.
What Goebbels deemed was inappropriate for the Nazi agenda would not be released. Occasionally, certain directors such as Wolfgang Liebeneiner were able to bypass Goebbels by providing him with a different version of the film that would be released. Such films include those directed by Helmut Käutner: Romance in a Minor Key (1943), The Great Freedom (1944), and Under the Bridges (1945). Under the Bridges, a romance that turns its back on war, was certainly one of the strongest films he made. But it didn’t premiere until after the war in 1946.
Ideology of Nazi that Germans are the superior nation above all was shown in films. Pro war films were being made to brain was audience that war is good and productive for Germans.
Films played an important role in disseminating racial antisemitism, the superiority of German military power, and the intrinsic evil of the enemies as defined by Nazi ideology. All Jewish actors and actresses were banned completely and Nazi films portrayed Jews as "subhuman" creatures infiltrating Aryan society.
For example, The Eternal Jew (1940), directed by Fritz Hippler, portrayed Jews as wandering cultural parasites, consumed by sex and money. Some films, such as The Triumph of the Will (1935) by Leni Riefenstahl, glorified Hitler and the National Socialist movement. Some films had overtly political messages, like Hitlerjunge Quex, in which a young member of the Nazi Party was killed by the communists.
As late as April 1945, when large parts of Germany, including Berlin, were already in ruins, entertainment and propaganda films were still being screened in theaters. More than 1,000 movies were produced during the Nazi era from 1933-1945. Rainer Rother, a German curator and actor, has said that still there were complaints from Goebels that the number of films being produced was insufficient and more films should be made. There were clear intentions to make as much movies as possible for the cinema so that the basic supply could be met.
Nazi propaganda films still hold a strange place in history because, politics completely aside, some of these films of hatred and evil were among the greatest purely technical achievements of their time.