In early 1938, a variety of assumptions regarding the future of the Jews circulated. The official SS organ Das Schwarze Korps (The Black Corps), for example, surmises that after the exclusion of Jews from “the spiritual and political life of the nation,” the physical separation from the majority of Jews within about twenty years will be no chimera. According to this notice disseminated by the Jewish Telegraphic Agency (JTA), Das Schwarze Korps, claims that the Jews are not willing to leave Germany and that the “small number” of Jewish emigrants should not be ascribed to “foreign exchange and other problems” but rather to the unwillingness of Jews in other countries to “lift a finger to give the emigrants or would-be emigrants a home.” In fact, by 1937, as many as 130,000 (out of a total of 600,000) Jews had left the country.
Until 1938, dozens of Jewish periodicals managed to withstand the mounting pressure of the regime. However, even since 1935, they were no longer publicly for sale, and since 1937, their freedom of reporting had been severely curtailed. After the Pogrom Night of November 9th to 10th (later known as “Kristallnacht”), a comprehensive prohibition brought the over-130-year history of the Jewish press in Germany to an abrupt halt. In order to be able nevertheless to spread official communiques through a paper aimed specifically at Jews, a Jewish newsletter, the “Jüdische Nachrichtenblatt” was established, the first issue of which was published on November 23rd in Berlin. Albeit edited by Jews, it was under total control of the Reich Ministry of Popular Enlightenment and Propaganda. On December 13th, the Vienna edition appeared for the first time.
The banishment of Jews from public spaces was far advanced by now. Already in 1933, Jewish creative artists had been dismissed from state-sponsored cultural life. Since November 12th, 1938, Jews were no longer admitted even as audience members at “presentations of German culture” and were banished from concert halls, opera houses, libraries and museums. More and more restaurants and shops denied access to Jews. On Dec. 12th, 1938, the Jewish Telegraphic Agency pointed out a striking discrepancy: while abroad, the “German News Bureau,” the central news agency of the Reich which followed the directives of the Propaganda Ministry, spread the information that from January 1st, 1939, certain anti-Semitic measures would be relaxed, quite the opposite had been communicated to Jews inside the Reich. One fact, however, was not hidden: the goal was to prompt all Jews to emigrate, “also in the interest of the Jews themselves,” as the Bureau put it.
When on September 29th the so-called “Munich Agreement” between Hitler, the British Premier Chamberlain, the French Premier Daladier, and the Italian dictator Mussolini was concluded, over 20,000 Jews had already fled from the regions of the Sudetenland. This was reported by the Jewish Telegraph Agency on the day of the Agreement. With a months-long propaganda campaign by the Nazis and raucous threats that the Wehrmacht would invade Czechoslovakia, it had already been clear to many Jews for weeks that they would have no future in the Sudetenland. With the Agreement, the Czech regions, in which the Sudeten German minority lived, would be surrendered to the German Reich. Czechoslovakia did not sit at the bargaining table in Munich.
“He offered a steed, you bought a hack, the Jews are a deceitful pack” is what is written on this postcard, postmarked on September 21, 1938. Mocking, anti-Semitic postcards were common already during the German Empire and the Weimar Republic and, as an easily replicable means, gained influence on the way people thought. One of the oldest stereotypes may be that of the greedy Jew. In whatever part of the economy Jews were active, anti-Semites would impute usury and fraud. The use of anti-Semitic postcards to impart private messages gave anti-Jewish stereotypes far-reaching societal acceptance and thus created the breeding ground for the solution of the “Jewish question,” which was soon to become a terrible reality.
Thanks to decades of scholarly work, notably his seminal works “The Religious Views of the Pharisees” (“Die Religionsanschauungen der Pharisäer,” 1904) and “Jewish Liturgy: A Comprehensive History” (“Der Jüdische Gottesdienst in seiner Entwicklung,” 1913), Prof. Ismar Elbogen was well known internationally, when in 1938, he overcame years of hesitation and decided that the time had come to leave. His efforts as chairman of the education committee of the Reich Representation of German Jews had been severely hampered by the regime, and his last book published in Germany, “The History of Jews in Germany” (“Die Geschichte der Juden in Deutschland,” 1935) had been censored heavily by the propaganda ministry. In the 1920s, several institutions of higher learning in the US (he taught at Hebrew Union College and turned down an offer to teach at Columbia University) had offered him lectureships, so that he had significant contacts overseas when the time came to leave Germany. In today’s report, the Jewish Telegraphic Agency informs its readers of the noted scholar’s impending departure.
Immediately after their rise to power in January 1933, the Nazis began to extend their control over every aspect of cultural life in Germany. As a popular medium capable of reaching large numbers of people—and one perceived as being dominated by Jews—film was of central importance to the new regime. Before the production of a new movie could begin, the script had to pass pre-censorship. The final product was scrutinized by the censorship authority for film (Film-Prüfstelle) of the Reich Propaganda Ministry. Under the Nazi regime, the state’s relationship with the film industry changed. While prior to 1933, authorities had primarily sought to censor or suppress material deemed harmful, the Nazi regime actively instrumentalized the film industry to promote National Socialist ideology. The anti-Semitic film “Juden ohne Maske” (“Jews unmasked”), whose authorization card from the censors is shown here, is such a case. It received the rating “valuable to national policy”, but it was also restricted to screenings for adult audiences in the context of NSDAP events.
On June 17, the Jewish Telegraphic Agency reports that in the last four days, the Nazi authorities have re-intensified their raids on cafés in Berlin and elsewhere in the country, which between June 13 and 17 have led to the arrests of 2,000 Jews. During the Weimar Republic, there had been a thriving Kaffeehauskultur—artists and intellectuals practically saw certain cafes as their homes, where they would spend half of their days and nights discussing art, literature, and politics. Under the Nazis, this phenomenon quickly disappeared; they suspected subversive activities among these free thinkers. The public sphere was infested with informers. By the time of the Juni-Aktion, in the context of which these raids were carried out, the original clientele had largely disappeared. Ostensibly, the raids were targeting “anti-social elements.” In fact, however, they constituted the first mass-arrest of Jews. The Minister of Propaganda, Joseph Gobbels, had summarized the intention with the pithy words: “Our password is chicanery, not the law.”
In 1935, the Nazi party press had orchestrated a campaign to exclude Jews from public swimming pools, citing “unpleasant incidents” or warning the public of the “danger” allegedly posed by Jews. Suddenly, signs inscribed with texts like “Jews are not permitted access to this facility” were put up almost everywhere. Stölpchensee, one of the lakes just outside Berlin, was the last public bathing spot to which Berlin Jews had access. Fritz and Friedel F. were married and lived in Berlin, where Fritz owned a lamp store. In June of 1938, their weekend cottage at Stölpchensee was still a family escape from the city and harassment.
In today’s release, the Jewish Telegraphic Agency reports that the Deutsches Volksblatt in Vienna urges a “pitiless anti-Jewish boycott.” This, the paper argues, is the line demanded by Hermann Göring in his last speech in Vienna. Highly decorated in WWI as a fighter pilot, Göring had become a member of the NSDAP early on and was a member of its inner circle. He had established the Gestapo in 1933, was commander-in-chief of the German airforce (Luftwaffe) and as Plenipotentiary of the Four-Year Plan, he also wielded power over the German economy. Other than that, he is known for his pivotal role in bringing about the Anschluss and his passion for collecting art, which he often acquired in dubious ways.
According to a Jewish Telegraphic Agency report, on April 21, the Propaganda Ministry of Nazi Germany authorized the creation of a Jewish Cinema Institute. The name was misleading. It was not intended to serve the cultural enrichment of the Jewish community. The main purpose of the Institute was supposed to be the production of movies showing life in Palestine and urging German Jews to emigrate. In other words, the plan was just another part of the Nazi scheme to rid Germany of its Jews. At the same time, Der Stürmer, one of the most viciously antisemitic newspapers in Nazi Germany, declared that Jews should not be allowed inside cinemas and theaters.
A WWI veteran, Alfred Schütz had studied law, sociology, and philosophy at the University of Vienna. Since the late 1920s, he had worked for the international banking house Reitler & Co. During the German invasion of Austria, he happened to be on a business trip to France. He opted to stay abroad, leaving behind his wife and child. A friend who had visited Vienna from London writes about his conversation with Schütz’s wife, Ilse. In his letter, he dissuades Alfred from returning to Austria due to the new regime’s attitude of suspicion towards the international banking industry. In light of the impending danger, a temporary separation from his family seemed like a better option to Schütz than coming back to Vienna.
This stereoscopic image from March 1938 shows a lingerie store in Vienna with a sticker that says “Jewish business” attached to its window. Immediately after the German Army’s entry into Austria, celebrated in many places, on March 12, 1938, the local Jewish population began to suffer from the same kind of defamation as German Jews had since 1933. The picture is part of the Sammlung Schönstein (Schönstein Collection) at the German Historical Museum. At the beginning of the 1930s, Otto Schönstein (1891–1958) of Nuremberg established his Raumbild Verlag, which published albums of stereoscopic photographs. In 1937, Heinrich Hoffmann, Hitler’s “personal photographer,” became involved in the publishing house, which was showing signs of economic difficulties, and used it for the dissemination of NS propaganda.
The handsome, blond, and athletic scion of a noble family in Lower Saxony, Gottfried von Cramm had all the features sought by the Nazis for propaganda purposes. Nevertheless, the two-time winner of the French Open tennis tournament (1934 and 1936) explicitly refused to be used as a poster boy for Nazi ideology and never joined the NSDAP. After repeatedly spurning opportunities to ingratiate himself with the regime, it was another issue that got him into trouble. On March 5, 1938, von Cramm was arrested under Paragraph 175 of the German penal code, which prohibited homosexual conduct. He was alleged to have had a relationship with a Galician Jew, the actor Manasse Herbst. Reformers had nearly succeeded in overturning the statute during the Weimar republic, but the Nazis tightened it after their ascent to power.
In mid-February 1938, the Jewish Telegraphic Agency, for years an attentive observer of the situation of German Jews, reports once again on the precarious position of Jews in Germany and the struggle of the Jewish Winter Relief to do justice to the acute needs of the community’s poorest. While the new, obligatory contribution addressed ongoing needs and made it easier to survive the winter, the numerous laws imposed by the Nazis since 1933 that banned Jews from various professions lead to an irreversible deterioration of their material situation.