Every day, at dinner time, a servant presented Adolf Hitler with a list including various feature films; sometimes even cartoons. Der Führer chose a film, which all interested parties would see after dinner in the Music Hall; staff members were also allowed to attend the screening (Kershaw, 101). In the prologue to the most horrific war of the century, Hitler's, and therefore Nazi Germany's, interest in cinema would seem to be of great importance to the largest film industry in the world: Hollywood. In The Collaboration, Ben Urwand argues that Hollywood's relationship with Nazi Germany was one of tolerance and cooperation; Hollywood studios turned a blind eye to the brutalities committed by the Nazi regime. This essay, however, will argue that Urwand's depiction of pre-war Hollywood is unfair due to Warner Bross' disapplication of anti-fascist stance during the 1930s and ignorance of diverse sentiments in American society. offers a vision of Hollywood as a mercenary enterprise that meekly obeyed orders from German authorities to safeguard Germany as an export market for its films. According to Urwand, Hollywood studios entered into a partnership with the Germans after the Hollywood production All Quiet on the Western Front – a film about the post-war suffering of a German soldier – caused several riots in German cities. The Hollywood film studios and the Nazi regime agreed that Hollywood productions would be welcome in Germany only as long as the Germans' honor, prestige, and, over time, even their Nazi ideals were not portrayed unfavorably. If a Hollywood production failed to honor the agreement, it would not be distributed… half the paper… you, 1999. 409-412. Ross, Steven J. “Confessions of a Nazi -Spy: Warner Bros., Antifascism, and the Politicization of Hollywood. Warner's War: Politics, Pop Culture, and Propaganda in Wartime Hollywood. Ed. Martin Kaplan and Johanna Blakley. Los Angeles: Norman Lear Center Press, 2004. 48-59. Snow, Nancy. “Confessions of a Hollywood Propagandist: Harry Warner, FDR, and CelluloidPersuasion.” Warner's War: Politics, Pop Culture, and Propaganda in Wartime Hollywood. Ed. Martin Kaplan and Johanna Blakley. Los Angeles: Norman Lear Center Press, 2004. 61-71.Urwand, Ben. Collaboration: Hollywood's pact with Hitler. Cambridge: The Belknap Press of Harvard University Press, 2013.Wilson, Woodrow. “Declaration of war”. A twentieth-century American reader. Ed. Jack Lane and Maurice O'Sullivan. Washington: US Department of State, 1999. 125-128.