Sexualised Nazi figures are part of a continually expanding cultural repertoire of images used in (audio-)visual representations of National Socialism and the Shoah. Julia Noah Munier traces this pattern, which has been neglected in research until now, back to the 1930s and shows how it has been used again and again after 1945 until today. She directs attention to a condensation of similarly structured figures across medial boundaries into specific patterns of interpretation. The focus is on the subjectivising effects of these patterns of representation, in which perpetrators of the Nazi regime and of Italian fascism appear as completely different, as deviant.