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Reflections on Methodology While scholars of Nazi cinema working in the 1970s focused primarily on the consonance between politics and aesthetics, more recent commentators have begun to consider the circumstances under which a seeming disparity between politics and aesthetics was both possible and productive. It is now no longer admissible to define a Nazi film's aesthetics solely by locating its systemic place. Instead of determining which features constitute a fascist film, we need to examine how films functioned under fascism, or rather, in the context of fascism. Can a common idiom be identified in the filmic language of the products of the Axis Powers, the German Reich, Italy, and Japan? Did the general conditions of production under state control foster similarity or diversity? Did the national idiosyncrasies of stars and genres become unifying factors by way of co-productions or through the exchange of films between these nations? Did Ufa and CinecittAi have more in common with the
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