User:HAD361-02/Propaganda Film

Triumph of the Will

The Nazi propaganda film Triumph of the Will is a fascist propaganda film that can be regarded as both praiseworthy and revolting. Some consider it a cinematic masterpiece and work of art, despite its display of Nazism. Made by young director Leni Riefenstahl and released in 1935, it was found to be innovative in its style of cinematography and shameless in it manipulation of others. Riefenstahl, who was only in her thirties, had only directed one other propaganda film for Hitler previous to this film. However, Hitler considered the lack of experience as a strength in avoiding a weakening of the Nazi vision. Through her use of bold and atmospheric visuals, in junction with her visuals exemplifying the ideal Aryan woman, she was able to produce a film containing the desired elements for cinema in Hitler's Nazi Germany. The film demonstrates the use of a variety of techniques and stylistic choices that present the fascist ideologies and cultural atmosphere of early Nazi Germany.

Triumph of the Will was made to be official documentation for the yearly Party Congress of September and promote fascism as the new basis for nationalism and patriotism in Germany. However, the documentary itself does not express any particular policies or ideologies. Instead, the film makes use of juxtaposition, symbolic, and vague patriotic imagery to appeal to the populace's emotions and reinforce the Nazi's message. Patriotic objects such as flags, parades and military-national symbols populate the scene. These images in tandem with the deliberately catered editing, camera angles, music, narration, set design, and lighting produced a film that unified the audience over a renewed sense of national identity in Germany after having experienced political and economic turmoil. The lack of commentary also adds to the effects of the film by giving it a sense of a transformation of reality that has already been achieved. The effect of a "nonfiction" film was achieved and thus gave a sense of reality to this portrayal of a nation's rebirth. This element of the Triumph of the Will exemplifies the fascist aesthetic derived from situations of control, the endurance of pain, and submissive behavior. The film's effects demonstrated Hitler's claim that the masses are swayed not by logic, but rather with mere feelings and beliefs.

The various film elements within Triumph of the Will contributed to the overall effect the film had on its audience in early Nazi Germany. Bold and inventive camera movements were used to draw in viewers into an immersive experience. The chosen compositions and framing gave the film an intense atmosphere filled with grandeur. These various elements of imagery that elevate Hitler as a heroic figure. In the film, he is associated with the sky and given the notion of being as benevolent as God in Christianity. Out of the numerous close-ups of Hitler, most are shot from behind him and the spectator is then swept by and accepting of Hitler's perceived power and benevolence. The film's sound was also designed such that sound from other sources were added in order to achieve specific effects. Audio containing cheers of a crowd is present throughout the film and has its volume carefully altered in order to illicit feelings of pride and excitement in the viewer. The film also makes use of high-contrast in its lighting to achieve a look that is distinct and enticing. The staging and set design emulated a society that was unified.