I believe "Triumph of the Will" and "Olympia" had different purposes. "Triumph of the Will" was intended as Nazi propaganda and to show the power of the Nazis. Its purpose was to show the world the strength that the Nazi regime had and that it was ready and we'll more than willing to fight for their beliefs. Evidence of this is found in the film all of the shots of the troops march marching the solutes with the guns the arm salutes to Hitler. Those are examples of the power and authority that Hitler had. The films were directed towards the leaders of other countries that they were ready to fight and to prove the power that the Nazis had. "Olympia" was intended for all viewers, not just a specific group. On the other hand, I believe the purpose
Leni Riefenstahl, a dazzling individual that has lived through and experienced many things that no other person may have. She has lived through the World War One, Great Depression, Nazi Germany, World War Two, the Cold war and September 11. However, what fascinates historians and people all over was her involvement and relationship with Hitler and the Nazis party. This report will look over Leni’s early to role as director of her Infamous films Triumph of the Will and Olympia and her involvement and view of Nazism and Hitler.
In both the play and the movie you learn that it is important to enjoy what you have, because it could get much worse, and that if you spend enough time around strangers, you will eventually become close to them. You also learn about what the holocaust and how millions of innocents were killed, which is important to know about so that hopefully nothing like it ever happens again. Although the way that the story is told and even some actions and dialogue is different between the play and the movies they are still the same story and share the same life
German cinema was greatly affected during the Nazi movement between 1933 and 1945. Once appointed Chancellor of Germany on January 30, 1933 Hitler wasted no time and almost immediately began working on his propaganda strategy. Typically “propaganda targets a mass audience and relies on mass media to persuade. Propaganda is aimed at large numbers of people and, as such, relies on mass communication to reach its audience” (Gass, 14). The Nazi party used film propaganda to brainwash the German people, distract them from the harsh reality of the Nazi party, and attempt to intimidate the enemy. Hitler knew propaganda entailed mass persuasion and he knew just how to get his message out there; film. It was through the use of propaganda, largely film that made the Nazi party so powerful as they redefined propaganda.
"Nike." Columbia Electronic Encyclopedia, 6th Edition 1. Academic Search Premier, EBSCOhost (accessed November 6, 2009).
One can see where many pieces of the Nietzschean philosophy of the late 1800's could have been the underpinnings of much of Nazi thought and propaganda. If indeed Hitler was fighting the battle for dominion of the earth, than his loss is a loss for the overmen everywhere. If, on the other hand, Hitler was an insane man, as Nietzsche became, than the victory over totalitarianism and tyranny is a sweeping victory for the freedom for mankind, and a defeat for the philosophies of Nietzsche. But of course, as Nietzsche said, there are no facts, only interpretations.
Song of Achilles by Madeline Miller is a classic tale remade in such a way that it’s both easier and more enjoyable to read than its time-honored counterpart, at least from the point of view of a tenth grader. This story contains the thrills and action of The Iliad, without the poetry, puzzling words and considerable length. It portrays the emotions of love and loss through the eyes of Patroclus, as he goes through the journey of his and Achilles’ lives together, and apart. Additionally, this story contains great use of both literary elements and devices, particularly theme, foreshadowing and conflict, thus making it an excellent addition to the tenth grade Honors English curriculum.
On top of justice is being done, we need to look at the functions of
By analyzing Leni Riefenstahl Triumph of the Will (1935) and Fritz Hippler’s The Eternal Jew (1940), two infamous Nazi propaganda films with which Goebbels was involved in producing, the paper will have a solid foundation to offer a plausible connection between Goebbels’ ideology and Nazi cinema. The project will also use Goebbels’ speeches, articles, and diary entries which serve to have an explicit definition of the German identity in comparison to the inferred definition found through film considering that his views of Germans and German society and the “other” (Jews and communists) are frequent subjects in his writings. Additionally, his personal insights showcase how influential they were in the films he oversaw, thus how permeable Nazi ideology was in German cinema in the 1930s and early 1940s. While the two films are hardly subtle in their message, his personal writings and speeches are valuable reinforcements to the messages the films he oversaw
Homer's two central heroes, Odysseus and Achilles, are in many ways differing manifestations of the same themes. While Achilles' character is almost utterly consistent in his rage, pride, and near divinity, Odysseus' character is difficult to pin down to a single moral; though perhaps more human than Achilles, he remains more difficult to understand. Nevertheless, both heroes are defined not by their appearances, nor by the impressions they leave upon the minds of those around them, nor even so much by the words they speak, but almost entirely by their actions. Action is what drives the plot of both the Iliad and the Odyssey, and action is what holds the characters together. In this respect, the theme of humanity is revealed in both Odysseus and Achilles: man is a combination of his will, his actions, and his relationship to the divine. This blend allows Homer to divulge all that is human in his characters, and all that is a vehicle for the idyllic aspects of ancient Greek society. Accordingly, the apparent inconsistencies in the characterization of Odysseus can be accounted for by his spiritual distance from the god-like Achilles; Achilles is more coherent because he is the son of a god. This is not to say that Achilles is not at times petty or unimaginative, but that his standards of action are merely more continuous through time. Nevertheless, both of Homer's heroes embody important and admirable facets of ancient Greek culture, though they fracture in the ways they are represented.
Octavian’s victory over Mark Antony in the battle of Actium is labeled as the most important battle of Antony’s civil war. It directly led to Octavian’s final conquest over Rome and is labeled as the defining moment of the birth of the Roman Empire. Despite fairly evenly matched forces, an overwhelming lack of leadership on Mark Antony’s part and many brilliant tactical moves made by Octavian and his Admirals allowed this battle to be an extremely decisive victory in Octavian’s favor. This paper will analyze the tactical and leadership based decisions made by both sides.
Over the thousands of years that the epic story the Iliad has survived, there has no doubt been some form of alteration to Homer’s original. Last May, Wolfgang Petersen directed a movie based on the Iliad. This movie, Troy, has proven to be a very loose adaptation of Homer’s original, as are almost all stories that are made into movies, unfortunately. With its timeless storyline, amazing scenery, gorgeous actors/actresses and most of all, its reported two hundred million dollar budget, it is easy to see why Troy was hyped up to be a box office hit. However, the film critics were harsh on this movie, as they had every right to be, and it ended up being a total flop. Compared to Homer’s Iliad, Troy is rather disappointing. But, to be fair, one must keep in mind the limitations of a movie compared to those of a book, and the fact that the title is Troy, not the Iliad. It really is not as bad as expected. Troy is Homer’s Iliad gone to Hollywood. There probably are just as many similarities as differences from the original. The three major upsetting differences in Troy compared to the Iliad are the absence of the Gods, the weak character and plot development, and the addition, exclusion, and reversal of key points.
Even if some tend to assume that Alexander truly was great, one cannot fully argue with the fact that Alexander had a huge ego, and he could barely maintain it himself. He was only twenty years old when he launched his invasion of the Persian Empire, and he could have had such a bright future that allowed him to deserve the title of great. Yet even Alexander’s army turned back after eight years of marching due to the fact that his ego could not wrap around the idea that all of these battles remained useless. Conquering so much land for personal pleasures just demonstrates how power hungry Alexander truly was. The city name Alexandria appears eleven times on the map of his empire. He was so conceited that he wanted people to know how much land
A second film titled Der Sieg des Glaubens (English: Victory of Faith) (1933) is based on a Nazi conference in which it displays a vast amount of NSDAP workers listening to Hitler give a speech. It depicts a large crowd cheering and saluting to Hitler and is used to demonstrate the NSDAP’s power and to celebrate his victory. It became a prominent role in Nazi Propaganda
...tling over Helen, Zeus sending the dream to Agamemnon, and Thetis convincing Zeus in the aid of the Trojans. We can see how the Gods affected the plot of the Iliad. If we were to eliminate them, the movie Troy makes more sense. In the movie, since Zeus did not send a dream to Agamemnon he had no real reason to attack Troy. But because Aphrodite was not there to save Paris from his death in the duel with Menelaus, Hector had to save him and death of Menelaus was the perfect motive for Agamemnon to take Troy. The addition of these changes was beneficial to the movie, if one is looking at it from the standpoint of a businessman. These changes allowed the audience to feel more emotion towards the characters, thus allowing them to “bond” with them. In the end of the Iliad, most of the characters die, and as we all know, that is the worst way to end a Blockbuster movie.
Athens and Sparta were ancient Greece’s two largest, most powerful and influential poleis, or city states (Brand: 1). This paper will compare the governmental structures of the two city states and provide an overview of how one became a citizen, became eligible for public office and rules governing the selection of office bearers. The paper will argue that although there were superficial similarities in the two poleis, their structures and governing political philosophies were very different.