Abstract: Historical narration is an act that necessarily develops
and deforms history. This “translation” is examined within the
historical and political context of the 1930 Berlin film premiere of
“All Quiet on the Western Front,” a film based on Erich Maria
Remarque’s 1928 best-selling novel. Both the film and the novel
appeared during an era in which life was conceived of as innately
artistic. The emergence of this “aestheticization” of memory and
history enabled conservative propaganda of the period to denounce
all art that did not adhere conceptually to its political tenets, with “All
Quiet” becoming yet another of its “victims.”