Hillert Ibbeken, Karl Friedrich Schinkel, Elke Blauert, Martina Abri, Karl Friedrich Schinkel: Das architektonische Werk heute, 2nd edition, 2002, p.324, ISBN 3-932565-25-8

The missionary efforts of bishop Reinbern were not successful, the Pomeranians revolted in 1005 and regained political and spiritual independence. [19] [20] [21] [22] In 1013 Bolesław Chrobry removed his troops from Pomerania in face of war with Holy Roman Emperor Henry III. [6] The Polish–German war ended with Polish victory, which was confirmed by the 1018 Peace of Bautzen.A few weeks later---on Jan. 30, 1945---the 12th anniversary of the Nazi "seizure of power," the last 'Film of the Nation,' Veit Harlan's Kolberg, had its premiere. On June 1, 1943, Dr. Gobbels had written to Harlan, "I hereby commission you to make the epic film Kolberg. The film is to demonstrate---through the example of the town which gives it its title---that a people united at home and at the front will overcome any enemy. I authorize you to request whatever help and support you deem necessary from all Army, government, and Party agencies, and you may refer to this film which I have hereby commissioned as being made in the service of our intellectual war effort.' No such reverence, though, is given in the film to the King himself, who is shown to be weak and indecisive in the face of Gneisenau's later 1813 admonition to call for a people's rising and to "Remember Kolberg!" six years before. This, too, was on-going Nazi propaganda against the ousted former German ruling house, the Hohenzollern Dynasty. The film's cast of 'extras' amounted to perhaps 5,000 soldiers; hundreds of Kolberg people participated for a daily fee of 5ℛ︁ℳ︁. The number of extras is commonly exaggerated at 187,000, and claims of entire divisions of troops taking part are completely false. [1] Jörg Jarnut, Peter Johanek, Die Frühgeschichte der europäischen Stadt im 11. Jahrhundert, Köln-Weimar-Wien 1998, pp.273–305, republished in Winfried Schich, Ralf Gebuhr, Peter Neumeister, Wirtschaft und Kulturlandschaft – Siedlung und Wirtschaft im Bereich der Germania Slavica, BWV Verlag, 2007, p.275, ISBN 3-8305-0378-4 The French round-up of peasants and their irritation with the recalcitrant citizens of Kolberg find parallels in Nazi policies during the Second World War. Isn't the glorification of discipline in this devastated town a demonstration of the slavish obedience principle taken to absurd lengths? And doesn't Kolberg also unconsciously pay tribute to the resistance to Hitler? What must have gone through the mind of someone watching the film in the embattled fortress of La Rochelle or the burning city of Berlin when he heard Gneisenau's final words about the people rising up at last to shake off their chains? 'The people rise, the storm breaks out,'---but might not the storm destroy those who unleashed it?'"

States the box liner notes, "One of the Third Reich's most ambitious spectaculars, three years in the making, Kolberg mobilized Germany's most talented artists and thousands of extras to recreate the true story of a Prussian town's rebellion against Napoleon's army of occupation. Laced with anti-Christian symbolism and National Socialist ideology, the film is a mirror of Hitler Germany's own war for survival. Before the end of World War II the town was predominantly German Protestant with small Polish and Jewish minorities. Almost all of the pre-war German population fled or was expelled so that since 1945, Polish Catholics make up the majority of the population. Around the turn from the 18th to the 19th century an increase of the number of Catholics was observed, because military personnel had been moved from West Prussia to the town. [ citation needed] Lighthouse in Kołobrzeg Kołobrzeg eastern beach Number of inhabitants in yearsZitiert nach Erwin Leiser: „Deutschland, erwache!“ Propaganda im Film des Dritten Reiches. Rowohlt Verlag, Reinbek bei Hamburg 1968, S. 104 f. Kołobrzeg has connections among others to Szczecin, "Solidarity" Szczecin–Goleniów Airport, Gdańsk, Poznań, Warsaw, Kraków and Lublin.

In its characterizations of Kolberg's besieged citizenry, the epic allegorically reflects the spirit of fanatical resolve to fight on that Nazi propaganda was attempting to instill in the German population during the final years of World War II. The film was directed by Veit Harlan, with music by Norbert Schulze." Then, Kolberg hadn't fallen when this film premiered in Berlin and La Rochelle (which, perhaps inspired by the film, capitulated only two days after Germany had fallen). Kolberg was finally abandoned on March, 18. Light-hearted and entertaining films were screened most often. “Clearly, in the last years of the war, the objectives were oriented more towards the ‘entertaining’ film. That was different in the 1930s,” says Rother. “After the war began and until about 1942, there was a real boom in propaganda films,” he notes. As soon as the war situation changed for the worse, such films were “assessed as counterproductive and redirected: That means that relatively few propaganda films were commissioned or produced, and there was a much greater emphasis on the entertainment genre.”

Domains

My own view of the film is that it is a good, engaging, and interesting look at a little-known aspect of the Napoleonic Wars, as well as a fascinating sidelight on the Second World War and the fall of the Third Reich. The battle scenes---particularly of the bombardment of Kolberg---are very effective. The love story between Schill and Maria is also believable. See the DVD and judge for yourself. One hopes that the foregoing will add not only to your understanding of this movie, but also to your enjoyment. As Gobbels' answer to Gone With the Wind, it is worthwhile in and of itself. I highly recommend it.

Joachim Schroth: Geschichte als Legitimationsstrategie oder die Frage nach der Tradition des Durchhaltefilmes. Eine Analyse von drei Historienfilmen aus geschichtskultureller Perspektive. LIT, Berlin/Münster 2016, ISBN 978-3-643-13409-7. urte hasieran amaitu zuten filmatzen Kolberg, eta korrika eta presaka estreinatu zuten urtarrilaren azken egunean Berlingo zine areto batean eta Arroxelako alemaniarren itsas basean. Kolberg, nazi erregimenaren zinematografiako pelikularik garestiena izan zen. Gudaroste eta herritarren izpiritua eta morala igotzeko ekoiztu zen. eta izan ziren zuzendariak eta aktore nagusien artean garaiko alemaniar zineko izarrak: , , , , , eta . Filmak, , Kolberg hiriko alkatearen istorioa kontatzen du. 1807an, frantses armadaren setioari aurre egin eta garaile suertatu zen heroiarena hain zuzen. 1943. urtearen amaieratik aurrera gudak hartu zuen itxura ikusita, erraza da ulertzen zein zen alemaniar gobernuaren helburua film hau egiterakoan. Hain zuzen ere, 1943an hasi ziren Kolberg filmatzen, pelikulaz eta garaiko 8 milioi markotik gorako aurrekontuaz. Guda garaia izan arren, milaka soldadu ekarri zituzten fronte ezberdinetatik filma gauzatu ahal izateko. Negu eszenak filmatzeko, gatzaz betetako 100 tren bagoi baino geh Goebbels film studios managed to film and distribute this movie just as the final battles of World War II were being fought. Its message of defiant defense in the face of hopeless odds was meant to rally the severely demoralised Germans as their homes were being threatened by the enemy. The songs and vivid colours were meant to entertain and raise morale as life became darker and darker. In the late 19th century Kolberg became a popular spa town at the Baltic Sea. In 1945, Polish and Soviet troops captured the town, while the remaining German population which had not fled the advancing Red Army was expelled in accordance to the Potsdam Agreement. Kołobrzeg, now part of post-war Poland and devastated in the preceding Battle of Kolberg, was rebuilt, but lost its status as the regional center to the nearby city of Koszalin.Kolberg is a 1945 Nazi propaganda historical film written and directed by Veit Harlan. One of the last films of the Third Reich, it was intended to bolster the will of the German population to resist the Allies. Kolberg was often shown in the last weeks of the war, both at the front and in local cinemas to encourage the population to resist the allies. Screenshot of an army scene(the statists for these scenes came directly from the battlefields of the ongoing Second World War) [3]