"No shoes in the house, you silly goose," Mr. Winterhalt said.
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At that point, we thought, We're starting to grow very fond of our silly Goose Game.
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" Kimmel used to call his younger daughter a "silly goose," and then started thinking about the alternative: the serious goose: "I thought, I should look this up to see if anyone has said it before.
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Meanwhile, a passing cart is carrying a fox stole. The silly goose touches it when again the mother drags her back. When approaching the countryside the other geese are happy, while the silly goose seems bored with her rural surroundings, at which the mother looks perplexed as to why. A train passes by which quickly shifts this arrangement as the silly goose is excited to see something unnatural, whereas the mother pulls the other siblings back in fear.
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When they arrive at the farm they are released from the wooden box and allowed to be free in their rural environment. The silly goose then begins to admire herself in the reflection of the water, while the mother teaches the other geese how to drink. It is repeatedly shown in different scenes how the three geese march after their mother and learn from her, whereas the silly goose mocks them. The silly goose then tries to make luxury items out of ordinary things.
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The animation shows the silly goose in some aspects to be what Nazis would define as ‘asocial’. The definition of asocial is very elastic and could range from being a thief, alcoholic, prostitute or anyone that resisted the Nazi authority and ideals. With the silly goose consumed by luxury and embracing the facets of Parisian fashion is criticised in many areas in the animation. The most obvious example being when she uses natural aspects to dress and look differently, such as using pig hairs as eyelashes.
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The first representation of the fox in the animation is at the beginning with the fox stole on a passing cart. By the silly goose being drawn to it, and the mother goose pulling her away can show the idea that Germans should stay away from Jews. Furthermore, the most prominent representation of the Jew in the animation is the character of the fox that charms the silly goose back to his lair. The method the fox follows to bring her back can be seen as ritualistic and reiterates the theme of a Jewish conspiracy to conquer the world.
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Yosra was born in 1985 to an Egyptian father and a Syrian mother. She majored in Political science at AUC and minoring in Theatre and Modern History. She has acted in many AUC Theatre productions such as “A Silly Goose”, “The Sultan’s Dilemma”, “Sulayman EL Halabi” and the “Reader”.
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One of the main Völkisch ideologies was the role of the traditional German mother that would produce many children to fulfil their biological obligation. This is represented in the Kinderreich (with many children) policy, which rewarded women who had four or more children. The animation demonstrates this ideology by showing the mother and the silly goose eventually having four children each, despite previously not learning how to lay an egg. In addition, with the silly goose turning away the normal German goose and being charmed by the fox, can relate to the other tropes in Nazi ideology, such as inter-racial marriages being prohibited between people of ‘true’ German blood and Jews, with the Nuremberg Law for the Protection of German Blood and German Honour in September 1935 enforcing this.
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The goose then tries to escape and is trapped in the mouth of the fox running through the forest. Eventually she is rescued by all the animals on the farm. After this, the silly goose is with the normal male goose and their four children, which she keeps in line and doesn't allow them to behave in her previous ‘silly’ ways.
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For example, she uses a caterpillar as a scarf, corks as heels, straw hats and makes eyelashes from pig hairs. The other animals on the farm shake their heads in disapproval. The goose admires herself in a mirror, then her mother smashes the glass and tries to teach her how to lay an egg. After this, a traditional German male goose approaches the silly goose with the intention to court her, however she turns him away.
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The scene begins with the mother goose and her four children imprisoned in a wooden cart traveling to the countryside. While on their journey they pass a vibrant city which includes urban glamour shops influenced by international fashion, an exotic parrot and lively music. The mother goose and the other three siblings are frightened, meanwhile the silly goose is mesmerised by the bright lights and people dancing. The mother drags the goose back away from the urban city surroundings and drops her.
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Flashbacks to her childhood have shown Selene to have been a normal, happy, vibrant child, born in the late 14th century. The youngest of two daughters of a master mason and smith, Selene and her sister Cecilia were shown to love painting pictures, and playing games like 'Silly Goose'. At the age of nineteen, the untimely and gruesome deaths of her entire family completely broke her heart, as she had loved them all dearly, and left her an orphan. The deaths of her six-year-old nieces hit her especially hard.
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Aside from the golf course, Dawlish Warren has a doctor's surgery, a pharmacy and an independent supermarket, along with several gift shops which cater for tourist traffic. It also has a number of restaurants and take-out eateries. As you would expect for a resort, there are many bars and pubs such as the Silly Goose, and The Mount Pleasant Inn, which dates from before the 1750s, and is located just outside the resort. Dawlish Warren once had a post office, though this closed in the early 2000s.
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Set in the American Midwest of the 1950s, Melinda (Jenifer Olivares), the eleven- year-old daughter of sour parents (Christina Raines and Thomas Michael Kappler), finds interest in small things: a spun silver spiderweb, her box of treasures, and an afternoon at Silver Lake on her "day of days". Melinda's often known as a "silly goose" by her best friend, Alice Wasser (Jennifer McClusky). As the movie progresses, Melinda experiences ageless comforts and pains. Eliot Bradley (Chad Stevens), a waylaid college professors enters her life along with a warmhearted waitress (Ruth de Sosa), who introduces Melinda to the blues and Coca-Cola.
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Therefore, it can be said that the animation was subtly alienating the Jewish population and to some extent trying to justify the exclusion of Jews through the mass killings which began from March 1942. In addition, the way in which the fox is defeated can tell a lot about attitudes towards Jews. With all the farm coming together to chase him away could signify that the Germans needed to be united in their ‘fight’ against the Jewish population. William Moritz argues that Hans Fischerkoesen is in fact subverting the ideology of nazi-ism through the silly goose, pointing that the symbolism being used within the film pushes more against the ideology of fascism and nazi-propaganda.
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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 had to be saved from a cunning fox by her friends and family. The moral of the tale was not be extravagant and adventurous due to its consequences and it not being what one would expect, and promoting that people should live a ‘normal’ German family life. The animation has an underling theme of Nazi propaganda. It symbolises the Völkisch ideology to be traditionally conventional, demonstrating the idea that a woman's main purpose was to produce ‘true’ German children, and not be individualistic or sexually sinful.
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Therefore, the ideal to create a united German nation was achievable by no individuals varying from the country look. This concept is displayed in the animation towards the beginning, where the cart drives past the glamorous urban city and the silly goose is pulled away by her mother and dropped. This represents the first symbol of hurt from embracing the urban city life, reflecting it back to if someone went against Völkisch ideology there could be fatal circumstances, with two thirds of non-Jews in concentration camps, during 1933 to 1943, being defined as asocials. Therefore, the motive to influence the audience to be natural and not be taken to urbanite glamour underlines the animation and can reinforce the idea that the animation was in fact propaganda to indoctrinate the youth.
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