hitler humanised by his wife's films

To Demonise  and to not allow the Humanisation of the 'Enemy'  is what what all War Propaganda does.  War propaganda refuses to even vaguely accept the fact that every enemy is a human being.  Someone who bleeds red blood . Someone with human feelings.  

The enemy does love children and dogs. Even Hitler did. 

I am working on a photography project that looks at the  ordinary, human side of Maoists in Nepal. So this report fascinates me.  The effect of colour in countering  the constructed, Black and White  'reality' of the Nazis raises interesting questions about how much power the normal use of colour has  in the today's world.   

The Hitler home movies: how Eva Braun documented the dictator's private life

Eva Braun was the most intimate chronicler of the Nazi regime, capturing Hitler's private life with her cine-camera. But it was only the obsession of artist Lutz Becker that brought her films to light. Robert McCrum and Taylor Downing uncover the story of the footage that shocked the world

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• • Robert McCrum and Taylor Downing
  • The Observer, Sunday 27 January 2013

Sharp focus: Eva Braun, Hitler’s lover, whom he married the day before their suicide, at his fortified chalet, Berchtesgaden, in the Bavarian Alps. Photograph: Getty Images

"It was in the Bundesarchiv," Becker recalls, "that I first unearthed a photograph of Eva Braun holding a 16mm Siemens cine-camera."

Eva Braun still exerts a strange fascination. Today, 80 years after Hitler became chancellor, Braun is both a symbol of Nordic simplicity, and also a tragic figure whose ordinariness provides a window on to the banality of evil. Postwar fascination with the Nazis means that Eva Braun still has a remarkable grip on our imagination – the little girl in the fairytale who takes us to the horror in the woods.

Braun's home movies, mostly shot in Hitler's fortified chalet in Berchtesgaden, in the Bavarian Alps, have a naive innocence. She captures in the private life of the Nazi high command what Hannah Arendt called "the banality of evil". In Braun's footage, we see Hitler and his cronies relaxing on the terrace of his chalet. They drink coffee and take cakes; they joke and pose for the camera. Hitler talks to the children of his associates, or caresses his Alsatian, Blondi. The camera (in Eva Braun's hands) approaches Hitler in rare and intimate close-up. 

Braun's films offer a remarkably unmediated view of the Nazi leadership and of Hitler himself. This was not the image presented by his propaganda team, or by Leni Riefenstahl, "Hitler's favourite film-maker", but the man as he actually was.

Becker, meanwhile, was discovering the limits to the public's appetite for the home life of Adolf Hitler. Taking the best of the Eva Braun footage, the documentary he worked on for Puttnam, entitled Swastika, was premiered at the Cannes Film festival in May 1973. The audience was outraged, booing and whistling at the screen, with cries of "Assassins!" The presentation of the Führer as a friendly uncle, a petit bourgeois figure in a suit and tie, popping in and out of a family gathering, was intolerable. The iron-clad image of Hitler so carefully shaped by Heinrich Hoffman still exerted a fierce grip on the public imagination.

Becker is still tormented by the first reactions to Eva Braun's films. "I was punished for puncturing a negative myth. People saw something that was banal in action, and banal in its colour." He believes that many had become comfortable with the carefully composed, black-and-white propaganda images of the Nazis. "People hate it when you tinker with their mythologies," he says. Over a generation, however, perceptions have changed.

Today, Becker's research, inspired by the need to make peace with the past, has, paradoxically, had the effect of historicising it. There were many equally evil 20th-century regimes – Stalin, Mao, Idi Amin, Pol Pot – but none of these exert quite the same cultural and psychological charge as Nazism. 

http://www.guardian.co.uk/world/2013/jan/27/hitler-home-movies-eva-braun