Introduction
According to Jowett & O’Donnell (1), propaganda is a method of communication which tries to elicit a response that propagates the desired intention of the propagandist. The art of propaganda has been studied in an array of multidisciplinary researches in the fields of journalism, sociology, history, political science and psychology. To study the art of propaganda as history means examining propagandist practices as distinct events and the resultant events as likely effects of propaganda. Nazi films were predominantly propagandist in that they aimed at influencing attitudes on life in a given context, and in terms of particular people and events. Perhaps the most famous Nazi propaganda film is Triumph of the Will (Triumph des Willens) by Leni Triefenstahl. Not only was it commissioned by Adolf Hitler, perhaps the worst propagandist of all time, but also it bears content that makes it a propaganda film. This paper examines Triumph of the Will and provides reasons, through perspectives of different authors, why it is a propaganda film.
Kelman, Ken . Ken Kelman Logos 2.4 – Fall 2003 Propaganda As Vision: Triumph of The Will. New Brunswick, N.J.: McGraw Hill, 2003. Print.
In this book, the author examines Triumph of the Will (1935) and how it became monumental as one of the world’s first observational documentaries. The author says that the movie highlights events such as parades, speeches and images of Hitler and mass assemblies to give it incontrovertible credibility (Kelman 1). The movie does not have any spoken commentary but only bears speeches by Adolf Hitler and other prominent Nazi leaders. Central to this film is the Nuremberg Nazi Party Congress, which 700,000 Nazi supporters attended. The speeches made by Hitler, Julius Streicher and Rudolf Hess are excerpted in the film. The over-encompassing theme in the film is the return of Germany to its former glory under Adolf Hitler. In achieving this, the film uses several strategies, which are reviewed here for their propagandist intentions.
Barsam, Richard Meran . Film Guide to Triumph of The Will. London: Indiana University Press Film Guide Series, 1975. Print.
Richard Barsam notes that the very first element of the film that makes it a propaganda film is its association with Adolf Hitler, who was known for great propaganda tactics. This is evidenced by the fact that Adolf Hitler commissioned the production of this film by Leni Riefenstahl. According to Barsam (14), Hitler ordered Riefenstahl to make the film, stating that it was not important who was in the film, and that what was important was the atmosphere in the film. The insistence of Hitler that Riefenstahl capture the atmosphere at Nuremberg indicates his intentions for the film. He indented it to give a massage of national unity as well as political and military might. Before any image comes onto the screen, there are names of different contributors to the film. Key among them is Adolf Hitler, whose name appears last. From its very beginning, Triumph of Will establishes the fact Adolf Hitler is its hero. These words are followed by mountain-like clouds as provided by a view from the interior of the plane. This may be interpreted as a symbol signifying Hitler’s perspective, which is higher than all other perspectives. The clouds then clear out to reveal Nuremberg, the most important location in this film. The plane’s shadow, which is eagle-like and related to the Reich, is also symbolic as it glides over many soldiers in brown shirts. The camera then shifts to capture large crowds at an airport, visibly waiting for the Fuhrer. This has striking similarities with the Christian imagery of Jesus coming on the clouds. This is done to imitate Jesus’ second coming and, therefore, casts Hitler as a savior of the nation. This is propagandists in its very nature because it depicts Hitler. The fact that the perspective the camera assumes seems to be viewing Hitler from below is a message meant to subjugate the audience and underline the superiority of the Fuhrer.
Soussloff, Catherine M., and Bill Nichols, ‘Leni Riefenstahl: The Power of the Image’, Discourse, 18 (1991), 20-44
In this scholarly journal article, the authors assert that the film is deceitful. The masses are multiplied in the film to show the might of Hitler because of the high number of his followers. Triumph of the Will has a scene in the Lutpoldhain arena, where Hitler remembers those who died in the Great War. He is seemingly surrounded by great masses of SS and SA men. According to Soussloff & Nichols (21), telescopic lenses were employed to multiply people so that it would look that a small group of people was a great gathering. The emotive quality of using masses is propagandist in nature because it causes the viewer to want to be part of the multitude. This was also a symbolic gesture by the film-maker and the propagandists who had commissioned her to reassure the political allegiance of the audience. The argument that the use of masses in the film is propagandist is only valid because of the German context. Public ceremonies were historically important to Germans. Grandiose political public spectacles were some of the most vivid illustrations of allegiance that could be used at the time. This fact makes the film propagandist in nature.
Jowett, Garth, and Victoria Donnell. Propaganda and persuasion. 3rd ed. Thousand Oaks: Sage Publications, 1999. Print.
This scholarly book provides various examples of use of film for the purposes of propaganda and persuasion. In relation to the film, the authors state that the use of propaganda is indicated by the illusion of happiness, which is used to indicate the advent of good leadership and restoration of Germany’s stature. Riefenstahl choreographs images and sounds purposefully and this magnifies the impact of the film. For example the images and sounds from marching soldiers, uniforms, swastikas, waving of banners and overwhelming cheers and images of smiling children lifting their hands in salute creates a great illusion of might in many aspects of life such as military strength, national unity, organization in leadership and general content among the masses. This is also depicted through unique camera angles to create an illusion of great power and precision. For example, At one of the scenes in the film, the camera shifts to three Nazi leaders as they enter onto the stage. According to Jowett & O’Donnell (4), the camera moves in a vivid and purposeful manner to illustrate physical distance as well as hierarchical distinction. The use of contrast between Adolf Hitler and the rest of the masses serves the same purpose of highlighting the hierarchical power and high position of Hitler.
Barnouw, Erik. Documentary: a history of the non-fiction film. 2nd rev. ed. New York: Oxford University Press, 1993. Print.
This book examines the use of film as a tool. On the strategies of propaganda, Erik Barnouw writes: “Nothing else depicted so vividly the demoniac nature of the Hitler leadership” (Barnouw 105). the dissolution of reality in the film is meant to confuse and to drive the messages of propaganda home. The dissolution of reality is achieved through the use of symbolism. This is because of the fact that the manner of observing something, changes the viewer’s perspective of the object that is viewed. Riefenstahl frames masses dominated by big banners or movements. The camera moves from eagles or swastikas to the masses or from the masses to big Nazi emblems. This constant shifting works to reduce the distance between symbol and reality. The eagle and swastika are the predominant symbols of domination and power, while all images of people, except Hitler’s, come and vanish. This is done to inspire the audience to follow Hitler because he is depicted as the constant and “unchanging” factor together with his ideals, symbolized by the swastika and the eagle of the Reich.
Conclusion
Riefenstahl’s film, Triumph of the Will stands as the earliest examples of propaganda in film. Propaganda is the communication strategy aimed at eliciting a response that propagates the desired intention of the propagandist. The art of propaganda has been examined in different multidisciplinary researches in the fields of journalism, sociology, history, political science and psychology. In Triumph of the Will, various approaches are used to achieve the goals of propaganda. First, it is important to note that the film was commissioned by Hitler himself and he told the director, Leni Riefenstahl to ensure that she captured the atmosphere at the Nuremberg party congress. In addition, the predominance of Hitler in the film depicts him as a hero in a propagandist manner. Secondly, the film is deceitful. Riefenstahl uses telescopic lenses to multiply the soldiers and to create an illusion of might. This is consistent with Hitler’s intentions of depicting the rebirth of Germany and is arguably propagandist. Third, the illusion of happiness created by the film is propagandist. This is because it is meant to show contentment with the Hitler administration and thus influence political allegiance in his favor. Fourth, Riefenstahl uses symbolism to dissolve reality, making it easier for the audience to believe the half-truths that are predominant in the film. Largely, the film is an iconic example of Nazi propaganda and their intentional deceitful nature in trying to advance their political ambitions.
Work cited
Barnouw, Erik. Documentary: a history of the non-fiction film. 2nd rev. ed. New York: Oxford University Press, 1993. Print.
Barsam, Richard Meran . Film Guide to Triumph of The Will. London: Indiana University Press Film Guide Series, 1975. Print.
Jowett, Garth, and Victoria Donnell. Propaganda and persuasion. 3rd ed. Thousand Oaks: Sage Publications, 1999. Print.
Kelman, Ken . Ken Kelman Logos 2.4 – Fall 2003 Propaganda As Vision: Triumph of The Will. New Brunswick, N.J.: McGraw Hill, 2003. Print.
Soussloff, Catherine M., and Bill Nichols, ‘Leni Riefenstahl: The Power of the Image’, Discourse, 18 (1991), 20-44
