Deutsche Zeichentrickfilme G.m.b.H

Creation

Goebbels wrote in his diary in 1934, "Film is one of the most modern and far-reaching media that there is for influencing the masses." This opinion led to film being used as one of the main mediums of propaganda, with the view that the Ufa needed to be expanded to utilize film for the best political gain. Goebbels believed, unlike Hitler, that art and propaganda should intermingle; leading to the creation of the Deutsche Zeichentrickfilme GmbH, with the hope that entertainment could be used to carry a political message.

Goebbels entrusted the creation of the company to Cautio Treuhand as he provided a large amount of investment, meaning there was little economic worry for the organisation. He provided monthly subsidies until June 1942, when the Ufa took over the funding. The politics of the DZF were entrusted to Oberregierungsrat Neumann who had no prior experience with animation and Dr Werner Kruse was hired as technical head, who had applied merely to avoid being drafted. Although the motives and experience of some members were questionable, due to the fact they were able to avoid military service, it has to be said that the DZF was a large operation, starting in 1941 with 6 studios, 5 chief animators, 6 female animators, 1 head of colour, 12 colourists and 14 female tracers and ending in May 1944 with 94 employees and 151 trainees.

Early years

Neumann had the vision of concentrating all animation activity under one roof. This however was not agreeable with all Nazi ministers, who were sceptical this could be achieved. Neumann addressed these concerns in a letter, containing five and nine year plans of expansion and growth. In addition, he trapped employees in a contract which made them unable to quit, making sure the best animators in Germany worked for the DZF.

The pay scale can also be viewed as a reason for the attraction to the profession, as working for the DZF could generate 50-100% more income than working in the same job at another company. This is represented by how colourists at the DZF earned between 200-250 RM, but working for the Ufa- Werbefilm would only earn 120-200 RM, clearly showing how important the Nazis thought the DZF was to the war effort and Nazi regime. It also meant they could attract the best animators, with the hope to fulfil their goal of creating 19 short animations by 1947 and having the first full-length film in cinemas by 1950.

The early years of the DZF also became entangled with anti-Semitic policy. The Nuremberg laws passed by the Nazis in 1935 were not only aimed at restricting the Jewish rights and property, but also marriages between Jews and Aryans. The laws argued that any German who married a Jew was inferior and any children they bore should be treated no better than the Jews. This policy became relevant when it was found that Dr Werner Kruse had a Jewish spouse in 1942. Although he was categorised as having a 'privileged mixed-marriage' and Jews married to Aryans were not deported until 1944, this was still a tarnish to his name which the Nazis felt the need to distance themselves from. He was removed from the DZF, but continued to work for the Ufa, which demonstrates how important animators were to the regime, propaganda and the war effort. In addition to this, Kruse was able to keep his wife safe from arrest and deportation as the war progressed, further cementing the views that not only were the animators important, but that they were also powerful in the regime, due to the Nazis need for animated propaganda.