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Nazi film propaganda
Nazi film propaganda
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Recommended: Nazi film propaganda
Good afternoon Mrs Harmer and Class.
Leni Riefenstahl. Nazi associate and sympathizer or pure film pioneer will be the debate for centuries to come. However one thing we know about Leni is that she was a accurate representation of an “Individuals being a product of their time”. This statement is very accurate and true in reference to the life of Leni Riefenstahl
Leni Riefenstahl born on the 22nd of August 1902 is an example of one who has adapted to their time. Leni was brought into a wealthy middle class family, which was a privilege in Germany in these years, and due to this her family was able to avoid the economic and political crises in Germany. Throughout Leni’s childhood (the years from birth leading up to her adulthood) were the years of the Expressionism movement. German Expressionism was primarily throughout Berlin and was referred to as the movement through which feeling and emotion were communicated through the use of cinematography, artwork, and dance.
From a young age it seemed that Leni had a passion for expressionism. In 1906 when she was only four, she took up painting and began to compose pieces of poetry. At the age of 16, her passion for dance was found after watching a performance of Snow White. She was inspired and determined to dance which was against her fathers wishes, although she had extensive support from her mother. It took her until the age of 19 to start studying dance after finally receiving permission from her father - and in 1925 appeared in her first role in the film “Ways to Strength and Beauty”. This film which Leni played a dancer in depicted Leni as a striking women.
As cinematography was aimed for its peak in the 1920’s, opportunity was great as the film industry was subsidized, whic...
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...heir laws. All Nazi sympathizers and associates would be questioned and their penalty would alter accordingly. In June 1945, Leni Riefenstahl was imprisoned on the basis that she was a Nazi sympathizer, but was later released. This process once again occurred one the French jailed Riefenstahl. Leni Riefenstahl from then on would always be associated with Nazism, and was left on a global scale, vulnerable to many criticisms.
Through the life of Leni Riefenstahl we are able to observe that she was brought up in a time of expressionism and a increased growth of cinema, Had Nazi association and was greatly manipulated by Hitler, and her film career came to a crashing end as so did with the Nazi party. Through all this evidence, it is fair to conclude that Leni Riefenstahl is a prime example of an individual of whom is a product of their time.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
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,
Censorship in the 1950's: How did this affect the making of “Night and Fog” one of the first ever cinematic documentaries on the Holocaust? A film by Alain Resnais.
Where Schlondorff, Wenders, Herzog, Fassbinder and Kluge once investigated the extremities of the German character and the Americana that infested West German culture through the New German Cinema of the late 60s, 70s and early 80s, the Germany of today has through its cinema acknowledged past hardships but with a more positive emphasis placed on the possibilities of forgiveness, redemption and hope for what can be made of tomorrow. Bibliography A Reversal of Fortunes? Women, work and change in East Germany. Rachel Alsop.
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.
To start with, I would like to introduce a girl named Anne Frank. She was born in Germany on12 June 1929. She is one of the most discussed Jewish victims of the Holocaust. Her wartime diary The Diary of a Young Girl has been the basis for several plays and films. Even though she was born in Germany, but she lived most of
The roaring twenties would be nothing without the roar of the MGM Lion. “If Hollywood had no other studio than Metro-Goldwyn-Mayer, the town still would have been the movie capital of the world” (Fricke para 1). MGM enchanted audiences with its high-budgeted films and glamorous list of stars (Hanson para 1). Three failing movie companies came together in 1924 in hopes to make it big in the motion picture industry, and it did (Fricke para 3). Metro-Goldwyn-Mayer created spectacles of movies after its merging which made MGM one of the most prosperous motion picture companies in the 1920’s (Hanson para 2).
With the spread of the Nazi’s “national community” or Volksgemeinschaft ideology in the 1930s, came strict definitions from the Nazi party of what it meant to be German. Opposing the independent “new women” promoted in the 1920s by the Weimar Republic, the Nazi’s idea of womanhood was centered around creating a strong nation by pushing women to be mothers and maintain the household. In this way, those mothers could raise strong soldiers that could serve and protect Nazi Germany. While in contrast, Elsa Herrmann description of a “new woman” in a 1929 book, describes a woman focused on the present and actions such as entering the workforce. Most importantly, and the main reason the Nazis rejected the image of the “new woman,” is that the “new
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
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
Born in the beginning of the post war era following World War II, Barbara Kruger grew up in a time that was transitioning from the modernist period into the postmodern or contemporary period (Becker). During this time artists were rejecting the logical thinking of modernism; which is rooted in the truthful facts and science. Postmodernism can be considered to be a reaction to modernism. It i...
A film bursting with visual and emotional stimuli, the in-depth character transformation of Oscar Schindler in Schindler’s List is a beautiful focal point of the film. Riddled with internal conflict and ethical despair, Schindler challenges his Nazi Party laws when he is faced with continuing his ambitious business ideas or throwing it all away for the lives of those he once saw as solely cheap labor. Confronted with leading a double life and hiding his motivations from those allegiant to Adolf Hitler and the Nazi Party, Schindler undergoes numerous ethical dilemmas that ultimately shape his identity and challenge his humanity. As a descendent of a Jewish-American, Yiddish speaking World War II soldier who helped liberate concentration camps in Poland, this film allowed for an enhanced personal
In 1934 people were crazy and there was a great enthusiasm for Hitler. We had to try and find that with our camera. Helene Amatie Bertha Riefenstahl was born in Berlin on the 22nd August 1902. Born to Alf Leni Riefenstahl was born on 22 August 1902. She was the eldest of two children and grew up in Wedding, one of the working-class industrial suburbs on the edges of Berlin before moving to Berlin-Neukollen. Riefenstahl’s father Alfred Theodor Paul Reifenstahl was a plumber and small businessman. He was a hard and demanding figure. Leni’s mother was Bertha Ida Scherlach Riefenstahl. Leni Riefenstahl was an expressionist dancer during the Expressionist movement, a major actress and filmmaker during the growth of German cinema and a Nazi associate during the years of Nazi Germany. Leni was seen as an opportunist. The statement ‘Significant Individuals reflect the needs of their time’ applies significantly to Riefenstahl. In regarding the statement Leni had to overcome certain obstacles to achieve what she desired. The film
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.