In the second half of the twentieth century historians began to examine the cultural bureaucracy of National Socialism. Instead of unearthing evidence of well-organised cultural organs engaged in strict control, they revealed a hazy, decentralised, inconsistent administration marked by internal competition and conflict. This polycratic structure was characterised as being typical of other arenas of the regime. From the late 1960s onwards studies noted significant degrees of infighting within the cultural arms of the Party and government, and a lack of clarity to their focus and functions. These observations about decentralisation, competition, and fluctuating control coincided with growing criticisms of the totalitarian model that were put forward in the 1950s and 1960s as a representative and clear descriptor useful for considering the nature of the regime. Within these Party and government cultural factions, there was accordingly no clear material, stylistic, or philosophical relationship between politics and artistic style in Nazi Germany, as promoted or defined by any of its state or Party agencies.