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Nazi propaganda research essay
Nazi propaganda research essay
Why was Nazi propaganda successful
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Introduction
One of the reasons behind the success of the Nazi Party in taking over Germany is on its extensive use of propaganda. Adolf Hitler, known for his penchant for populism, rendered the strong impact of images, films and other materials attributed to Nazism as essential for the political success of the Nazi Party and its agenda for Germany. As an authoritarian leader, Hitler saw the importance of extracting the patronage of the Germans not through forceful means, but through convincing and motivating measures that enticed their mental faculties. To make such a vision possible, Hitler commissioned the talents of filmmaker Leni Riefenstahl – one of the most brilliant at the time, to create a movie that promoted Nazism not necessarily in a critical manner, but more on cultivating their blind adherence towards the Nazi Party. The result, Triumph of the Will, is a documentary film masterpiece that presented the magnanimity of the Nazi Party in a grandiose manner, complete with rich aesthetics enhanced with the latest film technology at the time. While Triumph of the Will has garnered strong acclaim as a magnum opus of its period, critics have assailed it for aggrandizing Nazi politics and its presumed ability to arouse sympathy towards Nazism. Thus, the assertion made by Walter Benjamin on the “aestheticization of politics” under German fascism has stood as an important premise to clarify and consider in understanding the significance of Triumph of the Will (Benjamin 217-252; Riefenstahl).
The “Aestheticization of Politics” under German Fascism
Benjamin noted one of the most notable characteristics of the Nazi regime – that of the “aestheticization of politics” under German fascism. In the simplest sense, Benjamin underlined...
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...m that the aesthetic techniques used in Triumph of the Will is exclusive to Nazism, as those may also apply to represent other ideologies subject to changes in the stimuli of people and breakthroughs in media technology. After all, what made Triumph of the Will distinctly Nazi in nature is the fact that it used multifaceted Nazi propaganda; the aesthetic techniques used therein – set apart from the propaganda, could also apply to other ideologies.
Works Cited
Benjamin, Walter. "The Work of Art in the Age of Mechanical Production." Illuminations. Ed. Harry Zohn. New York: Schocken, 1969. 217-252. Print.
Spielvogel, Jackson. Hitler and Nazi Germany: A History. 6th ed. United Kingdom: Pearson, 2009. Print.
Triumph of the Will. Dir. Leni Riefenstahl. Perf. Adolf Hitler, Heinrich Himmler, Victor Lutze, various Nazi leaders. Universum Film AG, 1935. DVD.
The presence of an overwhelming and influential body of government, dictating the individuals of contextual society, may potentially lead to the thoughts and actions that oppose the ruling party. Through the exploration of Fritz Lang’s expressionist film, Metropolis (1927), and George Orwell’s politically satirical novel, Nineteen Eighty-Four (1948), the implications of an autocratic government upon the individuals of society are revealed. Lang’s expressionist film delves into the many issues faced by the Weimar Republic of Germany following the “War to end all wars” (Wells, 1914), in which the disparity between the upper and lower classes became distinctively apparent as a result of the ruling party’s capitalistic desires. Conversely, Orwell’s,
In 1932 the political situation in Germany was intensifying. The Republic was crumbling and the great depression was taking its toll on the German people. Leni was not greatly affected by the depression and saw little of the violence that was occurring. In Berlin she was persuaded by friends to attend a political rally at Sportsplatz where Hitler would give an address. Instantly Leni had become spellbound by Hitler as he did upon thousands-‘He radiated something very powerful,’ she later observed, ‘something which had a kind of hypotonic effect.’ Inspired by Hitler, Leni ...
Gottfried, Ted, and Stephen Alcorn. Nazi Germany: The Face of Tyranny. Brookfield, CT: Twenty-First Century, 2000. Print.
In the years between 1933 and 1945, Germany was engulfed by the rise of a powerful new regime and the eventual spoils of war. During this period, Hitler's quest for racial purification turned Germany not only at odds with itself, but with the rest of the world. Photography as an art and as a business became a regulated and potent force in the fight for Aryan domination, Nazi influence, and anti-Semitism. Whether such images were used to promote Nazi ideology, document the Holocaust, or scare Germany's citizens into accepting their own changing country, the effect of this photography provides enormous insight into the true stories and lives of the people most affected by Hitler's racism. In fact, this photography has become so widespread in our understanding and teaching of the Holocaust that often other factors involved in the Nazi's racial policy have been undervalued in our history textbooks-especially the attempt by Nazi Germany to establish the Nordic Aryans as a master race through the Lebensborn experiment, a breeding and adoption program designed to eliminate racial imperfections.
Prior to the Nazi takeover of Germany, the nation had been suffering deeply. An economic depression, large-scale unemployment, and the shame of losing World War I had put Germany in a dark place. The Nazi’s were incredibly aware of this, and their propaganda at the time reflected a need to reunite the German people. Propaganda appealed to national pride, and putting ones country before themselves. Of course, a strong united people needed a leader that was just as strong, and the “myth of Hitler” would create that leader. Slogans like “One People, one Fuhrer, one Reich!” promoted national unity, and a Wochenspruch from February 1938 states, “The greatest of all sacrifices is to give one’s life to preserve the existence of the community.” Leni Riefenstahl’s Triumph of the Will comes from this time period and helps form the mythological image of Hitler. Propaganda also focused on the good the Nazi party was doing. It discussed how well the Nazi welfare system was working, newsreels showed happy German people enjoying the benefits of the Nazi regime.
The main purpose of the book was to emphasize how far fear of Hitler’s power, motivation to create a powerful Germany, and loyalty to the cause took Germany during the Third Reich. During the Third Reich, Germany was able to successfully conquer all of Eastern Europe and many parts of Western Europe, mainly by incentive. Because of the peoples’ desires and aspirations to succeed, civilians and soldiers alike were equally willing to sacrifice luxuries and accept harsh realities for the fate of their country. Without that driving force, the Germans would have given up on Hitler and Nazism, believing their plan of a powerful Germany...
Overseas News 21. "Modern World History: Nazi Germany." British Broadcasting Corporation. 27 November 2001 < http://www.bbc.co.uk/education/modern/nazi/nazihtm.htm >.
Gesink, Indira. "Fascism, Nazism and Road to WWII." World Civilizations II. Baldwin Wallace University. Marting Hall, Berea. 3 April 2014. Class lecture.
The debate as to whether Hitler was a ‘weak dictator’ or ‘Master of the Third Reich’ is one that has been contested by historians of Nazi Germany for many years and lies at the centre of the Intentionalist – Structuralist debate. On the one hand, historians such as Bullock, Bracher, Jackel and Hildebrand regard Hitler’s personality, ideology and will as the central locomotive in the Third Reich. Others, such as Broszat, Mason and Mommsen argue that the regime evolved out from pressures and circumstances rather than from Hitler’s intentions. They emphasise the institutional anarchy of the regime as being the result of Hitler’s ‘weak’ leadership. The most convincing standpoint is the synthesis of the two schools, which acknowledges both Hitler’s centrality in explaining the essence of Nazi rule but also external forces that influenced Hitler’s decision making. In this sense, Hitler was not a weak dictator as he possessed supreme authority but as Kershaw maintains, neither was he ‘Master of the Third Reich’ because he did not exercise unrestricted power.
Historians are often divided into categories in regard to dealing with Nazi Germany foreign policy and its relation to Hitler: 'intentionalist', and 'structuralist'. The intentionalist interpretation focuses on Hitler's own steerage of Nazi foreign policy in accordance with a clear, concise 'programme' planned long in advance. The 'structuralist' approach puts forth the idea that Hitler seized opportunities as they came, radicalizing the foreign policies of the Nazi regime in response. Structuralists reject the idea of a specific Hitlerian ideological 'programme', and instead argue for an emphasis on expansion no clear aims or objectives, and radicalized with the dynamism of the Nazi movement. With Nazi ideology and circumstances in Germany after World War I influencing Nazi foreign policy, the general goals this foreign policy prescribed to included revision of Versailles, the attainment of Lebensraum, or 'living space', and German racial domination. These foreign policy goals are seen through an examination of the actions the Nazi government took in response to events as they happened while in power, and also through Hitler's own ideology expressed in his writings such as Mein Kempf. This synthesis of ideology and social structure in Germany as the determinants of foreign policy therefore can be most appropriately approached by attributing Nazi foreign policy to a combination as both 'intentionalist' and 'structuralist' aims. Nazi foreign policy radicalized with their successes and was affected by Hitler pragmatically seizing opportunities to increase Nazi power, but also was based on early a consistent ideological programme espoused by Hitler from early on.
This article will discuss the influence of visual art on politics from two parts of visual arts , which are political photography and poster propaganda, through the unique social and historical stage of Nazi Germany. Additionally, it emphasizes the ideology, Nazis in Nazi Germany inflamed the political sentiment of the masses and took the visual art as their important instrument of political propaganda, while Nazi party used visual art on anti-society and war which is worth warning and criticizing for later generation. Despite an emphasis on the ideology, this article will conclude with significant application for the long-term impact of Nazi
Bibliography Primary Sources J Hite and C Hinton, ‘Weimar and Nazi Germany 2000’. Manchester Guardian Report, 13th April 1933. Franz Von Papen’s Speech at Marburg University, 17th June 1934. Rohm’s Speech to foreign press April 18th 1934. Field von Weich’s account of Hitler’s Speech to the leaders of the SA and most of the senior Reichswehr generals 28th February 1934.
(5) Kurlander, E. (2012). Hitler’s Monsters: The Occult Roots of Nazism and the Emergence of the
The Nazi party maintained this absolute control through the distribution and media coverage of Triumph of the Will. The Nazi government guaranteed the film’s success by ensuring “the film was shown all over Germany, particularly by means of mandatory screenings in schools and local halls.” (Culbert). When governments are given influence over the creation of content and its message as they do in Triumph of the Will, they can alter it into whatever they choose and control its distribution rights. This takeover of the medium allows for a monopoly over the platform. When the media is overwhelmed by this bias narrative, it limits the public’s knowledge and allows for only one viewpoint, one that coincides with the Nazi governments agenda. This message of hate was then consumed by the German public, misinforming them on who and what their government was, and as it has in Nazi Germany, an uneducated public can lead to a dangerous political take
MODERN HISTORY – RESEARCH ESSAY “To what extent was Nazi Germany a Totalitarian state in the period from 1934 to 1939?” The extent to which Nazi Germany was a totalitarian state can be classed as a substantial amount. With Hitler as Fuhrer and his ministers in control of most aspects of German social, political, legal, economical, and cultural life during the years 1934 to 1939, they mastered complete control and dictation upon Germany. In modern history, there have been some governments, which have successfully, and others unsuccessfully carried out a totalitarian state. A totalitarian state is one in which a single ideology is existent and addresses all aspects of life and outlines means to attain the final goal, government is run by a single mass party through which the people are mobilized to muster energy and support.