Triumph of the Will is considered to be propagandistic and fascist because of the fact that it presents Hitler to be “a god, descending from heaven through the clouds and bringing revelation to Nuremberg, Germany and the World” (Wood, 1989, p.46). The music that plays in the background reminds the viewer of a journey to success, almost triumphal type music. The editing of Triumph of the Will is remarkable because it is very clean and produces “formal levels of the notion of intricate mechanisms” (1989, p.46). The lack of commentary also makes Triumph of the Will very fascist because although, there is no verbal implication of the film being propagandistic and fascist, its is felt, rather than heard (Triumph Des Willens,1935). The editing is
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Through this analysis of the film, it structure, editing, style and messages, it is apparent that Riefenstahl did in fact create a film that’s essential message message is portraying communist ideologies. Wood explains that every technical and stylistic device is chosen to impose a single, simple and unquestioned view on the spectator (p. 46). Riefenstahl made this film with the message in mind that Hitler was a saviour. The propagandistic nature of Triumph of the Will when deconstructed all points to a film supporting the ideologies of dehumanizing Jews through Hitler. All four documentaries presented in this paper have been categorized as propaganda films, however, each serves a different purpose. Firstly, Triumph of the Will is a fascist propaganda film that is built upon the fascist and communist ideologies of Hitler. It is not a completely pure historical documentary as Riefenstahl claims, because much of it is staged and immensely edited to be the film it is now. Secondly, Leni Riefenstahl’s interview with CBC Digital Archives is a form of informative propaganda because she attempts to explain why she is not wrong in making Triumph of the Will. Next, Night and Fog, a post war propaganda film used to showcase the horrific circumstances of concentrations for an empathetic reaction of the audience. Lastly, The Eternal Jew is classified as an anti-Semitic German Nazi Propaganda film that dehumanizes Jewish people. To conclude, Riefenstahl does apologize in the Rise and Fall of Leni Riefenstahl for making the film and admits she is unhappy with her work (2006). However, she is not unhappy and regretful because millions of people were killed as a result of Hitler. She regrets is because it ruined her career and she has not been able to make another film. Thus, in this situation, it is apparent that it is difficult for an artist to separate themselves
Through this analysis of the film, it structure, editing, style and messages, it is apparent that Riefenstahl did in fact create a film that’s essential message message is portraying communist ideologies. Wood explains that every technical and stylistic device is chosen to impose a single, simple and unquestioned view on the spectator (p. 46). Riefenstahl made this film with the message in mind that Hitler was a saviour. The propagandistic nature of Triumph of the Will when deconstructed all points to a film supporting the ideologies of dehumanizing Jews through Hitler. All four documentaries presented in this paper have been categorized as propaganda films, however, each serves a different purpose. Firstly, Triumph of the Will is a fascist propaganda film that is built upon the fascist and communist ideologies of Hitler. It is not a completely pure historical documentary as Riefenstahl claims, because much of it is staged and immensely edited to be the film it is now. Secondly, Leni Riefenstahl’s interview with CBC Digital Archives is a form of informative propaganda because she attempts to explain why she is not wrong in making Triumph of the Will. Next, Night and Fog, a post war propaganda film used to showcase the horrific circumstances of concentrations for an empathetic reaction of the audience. Lastly, The Eternal Jew is classified as an anti-Semitic German Nazi Propaganda film that dehumanizes Jewish people. To conclude, Riefenstahl does apologize in the Rise and Fall of Leni Riefenstahl for making the film and admits she is unhappy with her work (2006). However, she is not unhappy and regretful because millions of people were killed as a result of Hitler. She regrets is because it ruined her career and she has not been able to make another film. Thus, in this situation, it is apparent that it is difficult for an artist to separate themselves