Nazi Propaganda Film: Leni Riefenstahl

However, as Wolfgang Ruge argues, “the Nazi party developed a propaganda apparatus whose activities far eclipsed all previous heights of the demagogy of German imperialism.” On this note, it is widely agreed by historians that the regime was highly successful in one of Friedreich's principles; control of the increasingly powerful mass media in German society as a mechanism for public control. Primarily coordinated through the work of propaganda minister Goebbels, Hitler was portrayed as a leader who was at the same time moderate and reasonable who put the national good before his own interest. Other themes highlighted images of strength and authority which appealed to the highly nationalist German population; epitomised by Hitler appearing out of the sky to lead the German people depicted in Riefenstahl's 1934 film Triumph of the Will, still widely considered the most influential propaganda film of all time. The radio, state produced to be inexpensive, become the regimes number one weapon as it allowed propaganda to not only infiltrate but permeate as many homes as possible.

“The staging itself reminded the audience of how fascists use such panoramas: […] Hitler at the Nazi Party Conference at Nuremberg in 1934 as reevoked in the monumental Triumph of the Will” (Crowl, 53). The huge red scrolls and banners with Richard’s badge of boar, the vast crowd waving red flags, all these imageries created by Richard Loncraine echo the past “glory” of Hitler when he convinced tamed German citizens with his mouth.

The film Triumph of the Will was created in 1934 after Hitler was named Fuhrer of Germany. At the time, Hitler was eager to improve the public image of the NSDP (National Socialist German Workers ' Party). After his election as chancellor in Early January 1933, Hitler gave Leni Riefenstahl the job of filming the annual NSDAP conference in Nuremberg, Germany . Riefenstahl accepted the offer and agreed document, direct and edit the Conference. As years pasted, the infamous “documentary” began to be speculated as possible Nazi Propaganda.

Throughout time, Jewish communities have been treated with immense hate and exclusion from other cultures because no one accepted their religion. Coming to the time before WWII, events like Kristallnacht demonstrated the despise for Jews that dwelled inside the general population of Germany when the Germans went to Jewish houses and stores to burn and destroy them. In the course of WWII, they were harassed, abused, tortured and ruined, as all of their business stocks and assets were taken away. During the expanse of this horrific battle, Jews were forced to live in designated areas known as concentration camps where they had to overcome obstacles such as hunger, freezing temperatures, and the loss of precious family members. These camps were used to fulfill Hitler’s intent to annihilate the Jewish population from the face of the planet and this dangerous idea was called “purify the country”. In total, there were about 25 of these camps built where 6 million Jews died, including 1.5 million children. Auschwitz was a camp which was responsible for 1 million deaths alone, and this is the camp where Elie Wiesel was first sent to endure the hatred of the Nazis. This camp changed the way Elie Wiesel viewed the world because he saw and experienced things that will stayed with him forever. He was transformed into a new person who neglected his religion, failed to protect the one he held dear to him, and put his

Leni Riefenstahl was one of the most revolutionary and certainly most controversial filmmakers of the early twentieth century. The lasting influence of her innovative filmmaking techniques on twentieth century cinema is undisputed by scholars throughout history, but the exact nature of her work is surrounded by ongoing controversy. Riefenstahl’s production of the feature films “Triumph of the Will” (Source 3) and “Olympia” (Source 1) have left a lasting imprint on history; these films established Riefenstahl’s influential career as a film director under the years of the Nazi regime. Although these films are attributed by scholars and critics to be Riefenstahl’s greatest achievements they are also considered to be her greatest fault, for

Triumph of the Will is a documentary of the Nazi Party conference in 1934 in Nuremberg. From the first frame of the film, Riefenstahl captures every essence of how worshiped Hitler

As the film opened in Germany and around the world it became obvious that Riefenstahl had achieved overall success, beyond all expectations. In America, specifically New York it was called “flawless” and “a highly fascinating fantasy”. The Blue Light was even awarded a silver medal at the first Venice Biennale that year. Riefenstahl still saw herself primarily as an actress, but after her new found success, expected to continue filmmaking as a career. If The Blue Light had not influenced her career path she would not have reached her prominence with her films such as Triumph of the Will and Olympia to come. Riefenstahl did not only gain wider international fame, she also gained the admiration and support of Adolf Hitler. According to Audrey Salkeld, “Hitler was already an admirer of hers, having been won over by her first dance of fluttering veils in her first movie.......From then on, he had followed her career with interest, The Blue Light in particular catching his imagination.” Indeed the success of The Blue Light was one of the determining influences on Riefenstahl’s rise to prominence as she states, “This film was pivotal in my life, not so much because it was my first successful effort as a producer and director, but because Hitler was so fascinated by this film that he insisted I make a documentary about the Party rally in Nuremberg. The result was Triumph of

“Triumph of the Will” and “Night and Fog,” portray Hitler’s vision for Germany, and the findings of Allied liberators of concentration camps in the beginning of World War II. A comparison of the films present two very different views of what Hitler deemed necessary for Germany. They each displayed propaganda in a way they’re eye-catching simply because of the raw footage. It took everything that we knew about pre WWII and corrected it, so that we knew the truth about how the people of Germany felt, and what they saw in those exact moments. The task of viewing these films was quite difficult, and although both films seem to be a highly emotional and factual, I believe that “Night and Fog” was a more superior piece of propaganda. I will

In conclusion, the key events of Leni Riefenstahl's life, such as her childhood, de-nazification and her various careers as a dancer, actress, film director/maker and photographer, as well as her stong will and determination, can be used to describe her

As a film director Riefenstahl claimed to have opposed Hitler’s initial demands to direct “Victory of Faith” and “Triumph of the Will”. Though this places question on why she hesitated to undertake this task at first. Due to her persistence for what she loved to do which is clearly exemplified in her earlier childhood, this supports the idea that she had a reason to decline. In Source E Riefenstahl does not seem to be pleased or passionate in anyway when shaking hands with Hitler after being referred to as his”favourite cinematographer”, Riefenstahl body language of lowering her face lightly downwards,

The triumph of the will is considered one of the major visual icons of Nazism . As the Historian William Shirer said "many of the most enduring images of the Nazi regime and its leader derive from Riefenstahl's film “ . This movie is truly an artistic endeavor that shows how art can often be beyond the surface purpose of a project, that explicates in the cinematic techniques that work in concert with one another to create a cohesive portrait of this political and military leader, Adolph Hitler. Riefenstahl’s movie is a great example of how can the rhetorical appeals Ethos , Pathos , Logos be melted together to produce one of the best convincing weapons . This can be obviously implied in the choice of music , gestures

The Holocaust was a time of devastation and corruption. It was also a time of cruelty and inhumanity. The Holocaust occurred over the course of twelve years during World War II. Although nearly six million Jews were killed, some survived and lived to tell their stories. The works of Kitty-Hart Moxon (Documentary: A Day In Auschwitz), and Elie Wiesel (excerpt Night) all portray the hardships and struggles for survival during the Holocaust; their stories exemplify powerful depictions of the Holocaust concentration camp experience. The documentary was more powerful and effective toward the audience.

if I can be free after completing this project and do not have to make

The efforts of the Western Allies to eradicate Nazism in the West German film industry in the years following the Second World War largely attributed to the emergence of New German Cinema. By the mid-1950s, the persistent pursuit of their political and economic self-interests left the West German cinema in an economically and artistically detrimental state, thus calling for government intervention. This, in turn, resulted in the inauguration of the 1962 Oberhausen Manifesto. Written and signed by twenty-six young German filmmakers who rejected the traditional German cinema, it emphasized their belief in the necessity for films to reflect the state of contemporary Germany rather than to entertain. As a result, they set out to create artistically challenging films that effectively reflected the materialism of postwar Germany, the state of various social classes, as well as the moral disaster that the Nazi legacy left. In prioritising the production and distribution of these films, the group were successful in gaining financial and augural control in

In the article “War Stories: The Search for a Usable Past in the Federal Republic of Germany” (1995), Robert G. Moeller, a professor of history at the University of California, Irvine, focuses on the topical question of a treatment of the past by Germans in the post-World War II Germany. The author argues that to find a single viewpoint as for the Third Reich period is difficult and the “binary opposition of perpetrator and victim” tends to impact the process of the national self-awareness and self-identification greatly (1048). This results in an uncertainty of an ethical assessment of the historical past and, what is more important, demonstration of a selective memory. The purpose of this paper is to provide interpretation of the 1979 film The Marriage of Maria Braun directed by Rainer Werner Fassbinder (1945-1982), a West German filmmaker and a representative of the New German Cinema movement of the 1960s-1980s, taking into consideration the ideas revealed in the article by Moeller. In this way, the main idea of the essay is that in his film, Fassbinder reflects Moeller’s concept of the selective memory by means of dehumanization of film characters while showing the historical post-war period of the German Economic Miracle.