The silly goose then tries to make luxury items out of ordinary things. 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. Following this, the goose is approached by a sly fox, shown as peering through the fence and creeping up on her. After stealing a scarecrows clothes, the fox then charms her back to his lair. When entering the lair the fox lets out a sinister laugh. Inside the lair there are geese locked up, a slave cat making music on a xylophone of bones and ants turning a spit roast. 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. The animation's main purpose was to instill Nazi ideology onto the public, specifically to indoctrinate the German youth. The underlining theme is to live the ‘traditional German life’ and not variate towards adventure or luxury, with the animation grounded in nature. It was produced in 1944 when censorship of all media, including child short films, had to go through Joseph Goebbels who was the leader of the Ministry of Public Enlightenment and Propaganda from 13 March 1933. The totalitarian state wanted to have absolute control of media in an attempt to control the masses, and Goebbels himself claimed: ‘German cinema had the mission of conquering the world as the vanguard of the Nazi troops’. The principle of the cartoon was to keep the German population in line and implant the idea that if someone was to variate from what they were told, the consequences could be fatal. Between 1939 and 1941, film propaganda would have been less effective because public opinion regarding the war did not need influencing as much. However, from 1941 onwards when German defeats began, tales such as these became valuable to keep the public in order and keep support for the government strong. Lord Northcliffe claimed that ‘The bombardment of the German mind was almost as important as the bombardment by cannon’.