Propaganda In Leni Riefenstahl's Triumph Of The Will

845 Words2 Pages

It has long been disputed that Leni Riefenstahl's 'Triumph of The Will,' is neither art or propaganda. Whether it is one, the other, or perhaps both at once, the film's acclaimed cinematography, known and respected worldwide, was the vehicle in which Hitler became Germany's God. Regardless of Leni's personal or impersonal associations with the Nazi Party, Triumph of The Will undoubtedly played a vital role in persuading a nation. Set in the bountiful city of Nuremberg, Triumph of The Will encapsulates the 1934 Nazi Party Rally. Hitler's former appointment in 1933 saw the abolishment of democracy and the guaranteed rights of German citizens. In order to actualise his complete control at such an extraordinary time, it was essential for Hitler …show more content…

The plane descends from the sky, over and into the bursting streets of Nuremberg with Hitler emerging shortly after, appearing gratuitous. This initial scene is largely important as it appoints the film's overall tone and the characterisation of Hitler himself; immediately seen as a figure of power and knowledge; godlike, appearing from a higher dimension. This is steadily continued throughout the film supporting the underlying theme of revival. Hitler is either seen in front of or individually above the public, standing against a sunny, cloudy, or smokey backdrop. The use of such context allows Leni to paint a perfect mythical …show more content…

Hitler himself is almost entirely filmed through a series of low angles - assisting in his messianic appearance. When in the presence of a large crowd, Hitler is filmed using medium and medium-long shots. Leni specifically arranges her subject to include background context to heighten the affiliation between the two. Not only is Hitler larger than life from this angle, his facial expressions and body language are both on show. Needless to say, these aspects reinforce his intended

Open Document