Jo Fox | |
---|---|
Born | Joanne Clare Fox 1978 (age 45–46) |
Nationality | British |
Alma mater | University of Kent (BA, PhD) |
Occupation | Historian |
Predecessor | Lawrence Goldman |
Awards | FRHistS, FRSA |
Joanne Clare Fox FRHistS FRSA (born 1978), is a British historian specialising in the history of film and propaganda in twentieth-century Europe.
Director of the Institute of Historical Research at the School of Advanced Study, University of London (the IHR's first female director) from 2018 to 2020, [1] Fox was promoted as Dean of London University's School of Advanced Study in 2020. [2]
Joanne Clare Fox [3] graduated with BA and PhD degrees in history from the University of Kent. [1] [4]
Before becoming a university lecturer, Fox intended to use her historical training to work in heritage, but changed her mind after a student at Kent told her, "you have been an inspiration to all of us! You should be teaching!" [5]
Fox entered academia as a lecturer at Durham University in 1999, later becoming Professor of Modern History. [6] [4]
In 2007, Fox was appointed a National Teaching Fellow. She is also a member of the Council for the International Association of Media and History and is on the editorial board of their academic journal, The Historical Journal of Film, Radio and Television . She is the honorary director of communications for the Royal Historical Society. [7] Elected a Fellow of the Royal Historical Society (FRHistS), she is also a Fellow of the Royal Society of Arts (FRSA). [6]
Her interest in using new learning technologies influenced others within Durham University, and in other institutions. [5] Notably, she contributed a case study to the National Blackboard Conference, [8] chaired by Lord Dearing. [5]
Fox's most significant published work is Film Propaganda in Britain and Nazi Germany: World War II (2007), in which she compares the use of cinema in propaganda in Britain and Germany in the Second World War.
Fox appeared as an expert for some episodes of the 2010 CBC Television documentary, Love, Hate & Propaganda. [9] She appeared as an expert on the BBC Radio 4 programme Making History in March 2011 to discuss satire and anti-fascist propaganda, [10] and on The One Show in May 2011 to discuss public and media reactions to Rudolf Hess's 1941 parachute landing.
The Institute for Historical Review (IHR) is a United States–based nonprofit organization which promotes Holocaust denial. It is considered by many scholars to be central to the international Holocaust denial movement. Self-described as a "historical revisionist" organization, the IHR promotes antisemitic viewpoints and has links to several neo-Nazi and neo-fascist organizations.
A newsreel is a form of short documentary film, containing news stories and items of topical interest, that was prevalent between the 1910s and the mid 1970s. Typically presented in a cinema, newsreels were a source of current affairs, information, and entertainment for millions of moviegoers. Newsreels were typically exhibited preceding a feature film, but there were also dedicated newsreel theaters in many major cities in the 1930s and ’40s, and some large city cinemas also included a smaller theaterette where newsreels were screened continuously throughout the day.
The propaganda used by the German Nazi Party in the years leading up to and during Adolf Hitler's dictatorship of Germany from 1933 to 1945 was a crucial instrument for acquiring and maintaining power, and for the implementation of Nazi policies.
The Institute of Historical Research (IHR) is a British educational organisation providing resources and training for historical researchers. It is part of the School of Advanced Study in the University of London and is located at Senate House. The institute was founded in 1921 by A. F. Pollard.
Fritz Hippler was a German filmmaker who ran the film department in the Propaganda Ministry of Nazi Germany, under Joseph Goebbels. He is best known as the director of the propaganda film Der Ewige Jude .
Die Deutsche Wochenschau is the title of the unified newsreel series released in the cinemas of Nazi Germany from June 1940 until the end of World War II, with the final edition issued on 22 March 1945. The co-ordinated newsreel production was set up as a vital instrument for the mass distribution of Nazi propaganda at war. Today the preserved Wochenschau short films make up a significant part of the audiovisual records of the Nazi era.
Jud Süß is a 1940 Nazi German historical drama and propaganda film produced by Terra Film at the behest of Joseph Goebbels. It is considered one of the most antisemitic films of all time. The film was directed by Veit Harlan, who wrote the screenplay with Eberhard Wolfgang Möller and Ludwig Metzger. The leading roles were played by Ferdinand Marian and Harlan's wife Kristina Söderbaum; Werner Krauss and Heinrich George played key supporting roles.
Ohm Krüger is a 1941 German biographical film directed by Hans Steinhoff and starring Emil Jannings, Lucie Höflich, and Werner Hinz. It was one of a series of major propaganda films produced in Nazi Germany attacking the United Kingdom. The film depicts the life of the South African politician Paul Kruger and his eventual defeat by the British during the Boer War.
Unternehmen Michael is a 1937 German film directed by Karl Ritter, the first of three films about the First World War which he made during the period when the Third Reich was rearming.
My Life for Ireland is a 1941 German drama film, one of the many anti-British Nazi propaganda movies created during World War II. Directed by Max W. Kimmich, it tells a story of an Irish nationalist family and their involvement in the Irish struggle of independence over two generations. The film's sets were designed by the art directors Wilhelm Depenau and Otto Erdmann.
Women Are Better Diplomats is a 1941 German musical comedy film from the Nazi era. Directed by Georg Jacoby and starring Marika Rökk, Willy Fritsch and Aribert Wäscher. It was based on a novel by Hans Flemming. The film was the first German feature film to be made in colour, and was one of the most expensive films produced during the Third Reich. The film met with a positive public response and was among the most popular German films of the early war years.
Immensee: ein deutsches Volkslied is a German film melodrama of the Nazi era, directed in 1943 by Veit Harlan and loosely based on the popular novella Immensee (1849) by Theodor Storm. It was a commercial success and, with its theme of a woman remaining faithful to her husband, was important in raising the morale of German forces; it remained popular after World War II.
During World War II, the entertainment industry changed to help the war effort. Often the industry became more closely controlled by national governments, who believed that a supportive home front was crucial to victory. Through regulation and censorship, governments sought to keep spirits high and to depict the war in a positive light. They also found new ways to use entertainment media to keep citizens informed.
Ride Tonight! is a 1942 Swedish historical drama film directed by Gustaf Molander and starring Lars Hanson, Oscar Ljung, Gerd Hagman and Eva Dahlbeck. It is an adaptation of the 1941 novel Ride This Night by Vilhelm Moberg. The film, like the original novel, alluded directly to events in occupied Europe during the Second World War and helped to bolster anti-Nazi sentiment in neutral Sweden.
Ride This Night is a Swedish historical novel by Vilhelm Moberg which was first published in 1941. The novel is set in the Seventeenth century, portraying Sweden as being occupied by the Germans. The novel helped to encourage anti-Nazi sentiment in neutral Sweden by drawing a parallel with Germany's occupation of much of Europe during the Second World War.
Hitler's Heroines: Stardom and Womanhood in Nazi Cinema is a 2003 book written by Antje Ascheid.
Filming Women in the Third Reich is a 2000 book written by Jo Fox and Angela Gaffney.
Cinema and the Swastika: The International Expansion of Third Reich Cinema is a 2007 book published by Palgrave Macmillan and edited by Roel Vande Winkel and David Welch.
Das dumme Gänslein(The Silly Goose) is one in a trio of German animated short films produced in 1944 by Hans Fischerkoesen, who was the chief animator and author. It is a tale of a female goose consumed by adventure and urban glamour in her countryside life, who has to be saved from a cunning fox by her friends and family. The overt moral of the cartoon is to avoid an extravagant and adventurous life due to its possible unexpected consequences, but rather to lead a ‘normal’ (German) family life. Though this "There's no place like home" theme was a commonplace of 1930s and '40s animation, in this cartoon there is special emphasis, typical of Nazi propaganda, on the Völkisch ideology of conformity and conventionality, portraying individualism and sexual freedom as inherently both alien and dangerous. The cartoon suggests that divergence from traditional German life could be dire, even possibly lethal, in line with National Socialist characterizations of opponents of the regime as asocial, disloyal, and self-destructive. The film also hints at anti-Semitism through the character of the cunning fox.
Strange Suzy is a 1941 French comedy film directed by Pierre-Jean Ducis and starring Suzy Prim, Claude Dauphin and Marguerite Moreno.