DOCSLIB.ORG

September 12, 2017 (XXXV:3) Leni Riefenstahl TRIUMPH of the WILL/TRIUMPH DES WILLENS (1934), 110 Min

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
September 12, 2017 (XXXV:3) Leni Riefenstahl TRIUMPH of the WILL/TRIUMPH DES WILLENS (1934), 110 Min September 12, 2017 (XXXV:3) Leni Riefenstahl TRIUMPH OF THE WILL/TRIUMPH DES WILLENS (1934), 110 min. (The online version of this handout has color images.) Directed by Leni Riefenstahl Written by Leni Riefenstahl, Walter Ruttmann, Eberhard Taubert Produced & Film Editing by Leni Riefenstahl Music by Herbert Windt Camera: Sepp Allgeier, Karl Attenberger, Werner Bohne, Walter Frentz, Hans Karl Gottschalk, Werner Hundhausen, Herbert Kebelmann, Albert Kling, Franz Koch, Herbert Kutschbach, Paul Lieberenz, Richard Nickel, Walter Riml, Arthur von Schwertführer, Karl Vash (Vaß), Franz Weihmayr, Siegfried Weinmann, Karl Wellert Assistant Camera: Sepp Ketterer, Wolfgang Hart, Peter Haller, Kurt Schulz, Eugen Oskar Bernhard, Richard Kandler, Hans Bühring, Richard Böhm, Erich Stoll, Josef Koch, Otto Jäger, August Beis, Hans Wittman, Wolfgang Müller, Hans (Heinz) his death in a car accident in 1943), Ludwig Müller (theologian Linke, Erich Küchler, Ernst Kunstmann, Erich Grohmann, and leading member of the "German Christians" faith movement, Wilhelm Schmidt Erich Raeder (played a major role in the naval history of World War II), Fritz Reinhardt (Secretary of State), Alfred Special Camera/Effects: Albert Kling (ærial photography), Rosenberg, Hjalmar Schacht (Minister of Economics), Franz Svend Noldan (special effects), Fritz Brunsch (special Xavier Schwarz, Julius Streicher, Fritz Todt (engineer whose effects), Hans Noack (special effects) firm handled construction of fortifications such as the Westwall and Atlantikwall, and the autobahn superhighways.) Sets: Albert Speer Leni Riefenstahl (b. August 22, 1902 in Berlin, Germany—d. Cast September 8, 2003, age 101, in Pöcking, Bavaria, Germany) Adolf Hitler, Max Amann (SS official, politician and wanted to know what it felt like to dance on the stage. Success as journalist), Martin Bormann (Nazi Party Chancellery Head), a dancer gave way to film acting when she attracted the attention Walter Buch (SS official), Richard Walter Darré ("blood and of film director Arnold Fanck, subsequently starring in some of soil" ideologist; Reich Minister of Food and Agriculture from his mountaineering pictures. With Fanck as her mentor, 1933 to 1942), Otto Dietrich, Josef "Sepp" Dietrich, Hans Riefenstahl began directing films. In 1931 Riefenstahl Frank (lawyer who worked for the Nazi Party during the 1920s established her own production company and wrote (with noted and 1930s, and later became Adolf Hitler's personal lawyer), Hungarian film writer Béla Balázs), directed, produced and Joseph Goebbels, Jakob Grimminger (member of the SS starred in Das Blaue Licht (The Blue Light, 1932) which won her known for carrying the Blutfahne, the ceremonial Nazi flag), the silver medal at the Venice Biennale and drew Hitler’s Hermann Göring, Reinhard Heydrich, Konstantin Hierl attention. He wanted her to film the 1933 Party rally but (head of the Reich Labour Service and an associate of Adolf Goebbels opposed her, arguing she was too young (31), too Hitler before he came to national power), Heinrich Himmler, inexperienced and a woman. Without his assistance she shot Franz Hofer, Robert Ley (headed the German Labor Front from several thousand feet of film which Hitler insisted be edited and 1933 to 1945), Viktor Lutze (SA official who informed Hitler released. This was Sieg des Glaubens (Victory of Faith, 1933), about Ernst Röhm's anti-regime activities. After the “Night of the which is lost. Riefenstahl asserts her name did not appear in the Long Knives” purge he became the new leader of the SA until Riefenstahl—TRIUMPH OF THE WILL—2 credits. She complained to Hitler about Goebbels’ interference cameraman in 1911 for the Expreß Film Co. of Freiburg. In 1913 and Hitler ordered her to film the 1934 rally. Because she hadn’t he filmed newsreels in the Balkans. He then became an assistant made a nonfiction film she sought the help of Walter Ruttman, to Arnold Fanck, a leading director of Mountain films. He director of the famous German documentary Berlin: The worked frequently with Luis Trenker and Leni Riefenstahl, both Symphony of a Great City (1927). He agreed to do a film closely associated with the genre. His most famous film for a US prologue on the Nazi rise to power and she left for Spain to scout audience would be Diary of a Lost Girl (1929) starring Louise locations for Tiefland (finished in 1954), her next fiction project. Brooks. During the Second World War, Allgeier filmed material She returned from Spain in mid August 1934 and had only two for newsreels. He later worked in West German television. weeks to prepare for filming. Hitler had combined the offices of President and Chancellor on the August 2nd death of von Adolf Hitler (b. Hindenburg. He presided over the sixth party rally held in April 20, 1889—d. Nürenberg from September 4th to 10th. April 20, 1945) was Triumph of the Will (1935) is the film record of his the Chancellor of gigantic display of party power, regarded as the most Germany from 1933- effective visual propaganda for Nazism ever made. Her penchant 1945. After the early for artistic work earned her acclaim and awards for her films death of both of his across Europe. Triumph of the Will would come back to haunt parents, in 1907, her after the atrocities of World War II. Despite her protests to Hitler moved to the contrary, Riefenstahl was considered an intricate part of the Vienna and worked as a casual laborer and watercolor painter. Third Reich's propaganda machine. Condemned by the He applied to the Academy of Fine Arts twice and was rejected international community, she did not make another movie for both times. Lacking money outside of an orphan's pension and over 50 years. She currently holds the record for the longest funds from selling postcards, he stayed in homeless shelters. length of time in between projects. After Lowlands (1954), it was Hitler later pointed to these years as the time when he first 48 years before she directed another film, the documentary cultivated his anti-Semitism, though there is some debate about Underwater Impressions (2002). She’s also the oldest director to this account. In 1913, Hitler relocated to Munich. At the outbreak helm a documentary at 99 years old in 2002. of WWI, he applied to serve in the German army. He was accepted in August 1914, though he was still an Austrian citizen. Walter Ruttmann (b. December 28, 1887 in Frankfurt-on-Main, Although Hitler spent much of his time away from the front lines Germany—d. July 15, 1941, age 53, in Berlin, Germany) was a (with some reports that his recollections of his time on the field painter in his youth. He started in films as a designer and creator were generally exaggerated), he was present at many significant of special effects for Paul Wegener and Lotte Reiniger. He was battles and was wounded at the Somme. He was decorated for most famous for his documentary feature Berlin: Symphony of a bravery, receiving the Iron Cross First Class and the Black Great City (1927). After Adolf Hitler came to power, he turned Wound Badge. Hitler became embittered over the collapse of the out propaganda films for the Nazis. He also collaborated on the war effort. The experience reinforced his passionate German editing of Leni Riefenstahl's Berlin 1936: Games of the XI patriotism, and he was shocked by Germany's surrender in 1918. Olympiad (1936). He was severely injured in 1941 while filming Like other German nationalists, he purportedly believed that the a documentary about the fighting on the Russian front. German army had been betrayed by civilian leaders and Transported back to Berlin, he died in a hospital during an Marxists. After World War I, Hitler returned to Munich and operation to try to save his life. continued to work for the German military. As an intelligence officer, he monitored the activities of the German Workers’ Party Eberhard Taubert (b. May 11, 1907, Kassel, Germany—d. (DAP) and adopted many of the anti-Semitic, nationalist and November 2, 1976, Cologne, Germany) was a lawyer and anti- anti-Marxist ideas of party founder Anton Drexler. In September Semitic Nazi propagandist. He joined the Nazi party in 1931, and 1919, Hitler joined the DAP, which changed its name to the quickly became involved in both anti-Communist and anti- Nationalsozialistische Deutsche Arbeiterpartei (NSDAP) — Jewish propaganda. From 1933 to 1945 he worked as a high often abbreviated to Nazi. Hitler personally designed the Nazi official in the Propagandaministerium under Joseph Goebbels. party banner, appropriating the swastika symbol and placing it in His nickname in Nazi circles was Dr. Anti. He worked in 1940 a white circle on a red background. He soon gained notoriety for on the script for the anti-Semitic propaganda film Der Ewige his vitriolic speeches against the Treaty of Versailles, rival Jude (English: The Eternal Jew) and was responsible for the law politicians, Marxists and Jews. In 1921, Hitler replaced Drexler requiring Jews to wear the yellow badge (Judenstern). After the as the Nazi party chairman. Hitler's fervid beer-hall speeches war he worked for $3,000 a month for the German Christian began attracting regular audiences. Early followers included Democratic Party, providing material against more radical army captain Ernst Rohm, the head of the Nazi paramilitary Marxists. After 1957 he worked in South America, Iran, organization the Sturmabteilung (SA), which protected meetings Lebanon, Egypt and South Africa and as the counsel of the and frequently attacked political opponents. On November 8, German minister Franz Josef Strauß. From 1970 he was 1923, Hitler and the SA stormed a public meeting at a large beer employed by German industrialists. hall in Munich. Hitler announced that the national revolution had begun and declared the formation of a new government. After a Sepp Allgeier (b.
Load more

Recommended publications
  • Nationalsozialistische Festkultur in Wiesbaden 1933
    Nationalsozialistische Festkultur in Wiesbaden 1933 Ein Projekt des Leistungskurses Geschichte 12 des Gymnasiums am Mosbacher Berg 2010/11 Diese Broschüre wurde während der Projektwoche im Herbst des Schuljaheres 2010/11 erstellt. Dabei war uns die Leiterin des Wiesbadener Stadtarchivs, Frau Dr. Brigitte Streich, in großzügiger Weise behilflich. Ein herzliches Dankeschön auch an ihre Mitarbeiter, vor allem Herrn Habs, der mit viel Geduld den Schülerinnen und Schülern nicht nur viele gute Tipps gab, sondern uns auch in vielfältiger Weise sachkundig zur Seite stand. Unmittelbar nach dem mit großem Pomp inszenierten Feiertag der „nationalen Arbeit“ wurden reichsweit, also auch in Wiesbaden, die Gewerkschaften gewaltsam zerschlagen und zahlreiche ihrer Verbandsfunktionäre verhaftet und misshandelt. Eine Schülergruppe – unter der Leitung von Frau Antina Manig - hat die Vorgänge am 2. Mai 1933 recherchiert. Bildnachweis: Wenn nicht ausdrücklich anders vermerkt, stammen alle Fotografien aus dem Wiesbadener Stadtarchiv. 2 Inhaltsverzeichnis Einleitung: Nationalsozialistische Festkultur in Wiesbaden 1933 Chronologie der Ereignisse 1933 Wie urteilten die Nationalsozialisten über das Jahr 1933? Die Wahlergebnisse aus Wiesbaden von 1928-1933 Eine Schule feiert die „Machtergreifung“ Der 2. Mai 1933 in Wiesbaden Erntedankfest – „Der Tag des deutschen Bauern“ „Führers Geburtstag“ 1933 Der Bau des Opelbades Der nationalsozialistische Fahnenkult Festkultur und die Militarisierung der Gesellschaft Geschlechterpolitik in der NS-Zeit Ausgrenzung von „rassisch-minderwertigen“ und politischen Konkurrenten in Wiesbaden 1933 3 Einleitung: Nationalsozialistische Festkultur in Wiesbaden 1933 Die nationalsozialistische Festkultur im Urteil von Historikern Bereits im Jahr 1933 jagten sich überall im Deutschen Reich die nationalsozialistischen Großveranstaltungen, so auch in Wiesbaden. Sie wurden mit einem gewaltigen organisatorischem Aufwand inszeniert, zahlreiche Parteigliederungen und Unterorganisationen wurden hierzu mobilisiert.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • The Development and Character of the Nazi Political Machine, 1928-1930, and the Isdap Electoral Breakthrough
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 The evelopmeD nt and Character of the Nazi Political Machine, 1928-1930, and the Nsdap Electoral Breakthrough. Thomas Wiles Arafe Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Arafe, Thomas Wiles Jr, "The eD velopment and Character of the Nazi Political Machine, 1928-1930, and the Nsdap Electoral Breakthrough." (1976). LSU Historical Dissertations and Theses. 2909. https://digitalcommons.lsu.edu/gradschool_disstheses/2909 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. « The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing pega(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • A Historical Retrospect of the Nazi Party and Its Leaders," (Set No, I, Set of Fourty)
    A historical retrospect of the Nazi Party and its leaders," (Set No, I, set of fourty) 1. November 9th 1923, the Nazi Party with Hitler as its leader felt strong enough to kick the Bavarian G-overnement out of its sad- dle. The marching Nazis when reaching the Odeonsplatz in Munich, were odered to stop. After ignoring the order tostop, they were fired upon and a total of 16 men were killed by machinegun fire. The Nazi Party thereafter was declared as illegal and was forbidden by law. Hitler himself, as the head and leader of the party was cobvicted to spend five years in jail. 2. The"BLOODFLAG", under which the first 16 Nazi victims were killed on November 9th 1923 on the Odeonsplatz at Munich* Later on this flag only was shown to the public when political events of im- portant nature took place. More or less, this flag was considered as a symbol of the party. 3. Hitler in his cell during imprisonment 1924 at Landsberg/Lech The party which had been forbidden, went underground so it couldn't be controlled by governement officials. Fin^llythe Bavarian governe- ment decided to set Hitler free because of J~oo much dangerous un- derground activities of the illegal Nazi party. 4. Adolf Hitler after becoming chancellor of the state, visiting the prison cell at Landsberg/Lech, where he spent nearly ten months. 5. Hitler, holding a speech in Munich on the stairs of the fa- mous " FELDHERRNHALLE ", eleven years after the first 16 members of his party were killed.
    [Show full text]
  • Einsicht 16 Bulletin Des Fritz Bauer Instituts
    Einsicht 16 Bulletin des Fritz Bauer Instituts , Völkermorde vor Gericht: Fritz Bauer Institut Von Nürnberg nach Den Haag Geschichte und MMitit BBeiträgeneiträgen vonvon KKimim PPriemel,riemel, WWolfgangolfgang Wirkung des Holocaust FForm/Axelorm/Axel FFischerischer uundnd VolkerVolker ZimmermannZimmermann Editorial Liebe Leserinnen und Leser, zur Grundlage der NSG-Verfahren zu machen, erscheint spätestens seit dem Münchner Demjanjuk-Urteil von 2011 in einem neuen, von den Nürnberger Prozessen über den kritischen Licht. Eichmann-Prozess in Jerusalem und die Nicolas Berg, Gastwissenschaftler am Fritz Bauer Institut im Prozesse an bundesdeutschen Landge- Wintersemester 2015/2016, beschäftigt sich in seinem Beitrag mit richten – wie den Chełmno-Prozess in den Spielfi lmen über Fritz Bauer, die während der beiden letzten Bonn, den Auschwitz-Prozess in Frank- Jahre in Kino und Fernsehen ein großes Publikum erreicht haben. furt am Main, den Sobibór-Prozess in Berg beginnt seine Darstellung mit der Skizze einer, wie er selbst Hagen und die Prozesse zu Treblinka sagt, noch nicht geschriebenen Wirkungs- und Rezeptionsgeschichte und Majdanek in Düsseldorf – zum In- Fritz Bauers, um vor deren Hintergrund herauszuarbeiten, wie in den ternationalen Strafgerichtshof in Den drei Filmen »die Persönlichkeit Bauers, sein Lebenswerk und sein Haag war es ein schwieriger und viel- privates Schicksal hier zum Gegenstand einer Selbstansprache der fach unterbrochener Weg. Ist es nicht Gegenwart« geworden sind. eine Überbewertung bundesdeutscher Timothy Snyder,
    [Show full text]
  • Mythos Andreas Hofer- Diplomarbeit
    1 DIPLOMARBEIT Titel der Diplomarbeit „Mythos Andreas Hofer“ Verfasser Herbert Bachhofer angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 190 313 344 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Geschichte, Sozialkunde, Polit.Bildg., UF Englisch Betreuerin: HR Univ.-Prof.in Dr. Heindl Waltraud 2 Inhaltsverzeichnis Vorwort 4 Einleitung 5 a. Beschreibung des Themas 5 b. Zum Begriff Mythos 7 1. Andreas Hofer – ein Lebenslauf der unvergesslich gemacht wurde 10 2. Die Tiroler Landeshymne 26 3. Wie eine Legende ins Leben gerufen wird 3.1. Ein Überblick zur Entwicklung des Andreas Hofer Mythos ab dem Beginn des 19. Jahrhunderts 30 3.2. Die Gedenkfeiern 1909 35 3.3. Vom Ende der Monarchie bis zum Ständestaat 38 3.4. Das Bild Andreas Hofers zur Zeit des Nationalsozialismus 41 3.5. Das Bild Andreas Hofers nach dem 2. Weltkrieg bis in die Sechziger Jahre 44 3.6. Über den Wandel des Andreas Hofer Bildes bis Mitte der Achtziger Jahre 49 3.7. Die Gedenkfeierlichkeiten von 1984 53 3.8. Das Bild Andreas Hofers von Mitte der Achtziger bis in die Neunziger Jahre 56 3 3.8.1. Die Gedenkfeierlichkeiten von 2009 57 3.8.2. Der Landesfestumzug 2009 in Innsbruck 58 4. Eine Auswahl der Andreas Hofer Rezeption 59 4.1. Eine Auswahl des Hofer-Bildes nach dessen Tod in der Rezeption 60 4.2. Eine Darstellung des Hofer-Bildes in der Rezeption vom Beginn der Restauration bis zum Ende der Monarchie 67 4.3. Die Hoferrezeption von der Zwischenkriegszeit bis Kriegsende 1945 86 4.4. Über die Rezeption nach 1945 89 5.
    [Show full text]
  • American Intelligence and the Question of Hitler's Death
    American Intelligence and the Question of Hitler’s Death Undergraduate Research Thesis Presented in partial fulfillment of the requirements for graduation with honors research distinction in History in the Undergraduate colleges of The Ohio State University by Kelsey Mullen The Ohio State University November 2014 Project Advisor: Professor Alice Conklin, Department of History Project Mentor: Doctoral Candidate Sarah K. Douglas, Department of History American Intelligence and the Question of Hitler’s Death 2 Introduction The fall of Berlin marked the end of the European theatre of the Second World War. The Red Army ravaged the city and laid much of it to waste in the early days of May 1945. A large portion of Hitler’s inner circle, including the Führer himself, had been holed up in the Führerbunker underneath the old Reich Chancellery garden since January of 1945. Many top Nazi Party officials fled or attempted to flee the city ruins in the final moments before their destruction at the Russians’ hands. When the dust settled, the German army’s capitulation was complete. There were many unanswered questions for the Allies of World War II following the Nazi surrender. Invading Russian troops, despite recovering Hitler’s body, failed to disclose this fact to their Allies when the battle ended. In September of 1945, Dick White, the head of counter intelligence in the British zone of occupation, assigned a young scholar named Hugh Trevor- Roper to conduct an investigation into Hitler’s last days in order to refute the idea the Russians promoted and perpetuated that the Führer had escaped.1 Major Trevor-Roper began his investigation on September 18, 1945 and presented his conclusions to the international press on November 1, 1945.
    [Show full text]
  • Guides to German Records Microfilmed at Alexandria, Va
    GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA. No. 32. Records of the Reich Leader of the SS and Chief of the German Police (Part I) The National Archives National Archives and Records Service General Services Administration Washington: 1961 This finding aid has been prepared by the National Archives as part of its program of facilitating the use of records in its custody. The microfilm described in this guide may be consulted at the National Archives, where it is identified as RG 242, Microfilm Publication T175. To order microfilm, write to the Publications Sales Branch (NEPS), National Archives and Records Service (GSA), Washington, DC 20408. Some of the papers reproduced on the microfilm referred to in this and other guides of the same series may have been of private origin. The fact of their seizure is not believed to divest their original owners of any literary property rights in them. Anyone, therefore, who publishes them in whole or in part without permission of their authors may be held liable for infringement of such literary property rights. Library of Congress Catalog Card No. 58-9982 AMERICA! HISTORICAL ASSOCIATION COMMITTEE fOR THE STUDY OP WAR DOCUMENTS GUIDES TO GERMAN RECOBDS MICROFILMED AT ALEXAM)RIA, VA. No* 32» Records of the Reich Leader of the SS aad Chief of the German Police (HeiehsMhrer SS und Chef der Deutschen Polizei) 1) THE AMERICAN HISTORICAL ASSOCIATION (AHA) COMMITTEE FOR THE STUDY OF WAE DOCUMENTS GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA* This is part of a series of Guides prepared
    [Show full text]
  • Film Propaganda: Triumph of the Willas a Case Study
    Film Propaganda: Triumph of the Will as a Case Study Author(s): Alan Sennett Source: Framework: The Journal of Cinema and Media, Vol. 55, No. 1 (2014), pp. 45-65 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/10.13110/framework.55.1.0045 . Accessed: 10/07/2014 11:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Framework: The Journal of Cinema and Media. http://www.jstor.org This content downloaded from 68.191.205.73 on Thu, 10 Jul 2014 11:40:03 AM All use subject to JSTOR Terms and Conditions Film Propaganda: Triumph of the Will as a Case Study Alan Sennett Until a reassessment by historians and film critics in the 1990s, Leni Riefenstahl’s cinematic “record” of the September 1934 Nazi party rally had generally been regarded as the quintessential example of the art of political film propaganda. Susan Sontag argued in a seminal article for the New York Review of Books that Riefenstahl’s “superb” films of the 1930s were powerful propaganda as well as important documentary art made by “a film-maker of genius.”1 She concluded that Triumph des Willens/Triumph of the Will (DE, 1935) was “a film whose very conception negates the possibility of the filmmaker’s having an aesthetic concep- tion independent of propaganda.”2 Although still an important source, Sontag’s assessment has been seriously challenged on a number of counts.
    [Show full text]
  • Nazi Party and Other Early 20Th Century German History Related Posters; Rare Book and Special Collections Division, Library of Congress, Washington, D.C
    Nazi Party and Other Early 20th Century German History Related Posters; Rare Book and Special Collections Division, Library of Congress, Washington, D.C. ; 2017 Nazi Party Posters from the Third Reich Collection A Finding Aid to the Collection in the Library of Congress Compiled by Debra Wynn Rare Book and Special Collections Division, Library of Congress Washington, D.C. 2017 Contact information: http://www.loc.gov/rr/rarebook/contact.html Catalog Record: http://lccn.loc.gov/2006590669 Finding aid encoded by Elizabeth Gettins, Library of Congress.2017 Finding aid URL: http://hdl.loc.gov/loc.rbc/eadrbc.rb017001 file:///lcdataserver/LOCPROF.003/eget/Desktop/naziposters.html[10/18/2017 4:19:12 PM] Nazi Party and Other Early 20th Century German History Related Posters; Rare Book and Special Collections Division, Library of Congress, Washington, D.C. ; 2017 Table of Contents Collection Summary Selected Search Terms Administrative Information Processing History Copyright Status Access and Restrictions Preferred Citation Scope and Content Note Arrangement of the Records Other Related Finding Aids Description of Series Container List Nazi Posters, 1941-1944 file:///lcdataserver/LOCPROF.003/eget/Desktop/naziposters.html[10/18/2017 4:19:12 PM] Nazi Party and Other Early 20th Century German History Related Posters; Rare Book and Special Collections Division, Library of Congress, Washington, D.C. ; 2017 Collection Summary Title: Nazi Party and Other Early 20th Century German History Related Posters Span Dates: 1917-1945 ID No.: rb0170001 Creator: Library of Congress. Rare Book and Special Collections Division Extent: 16 containers ; Linear feet of shelf space occupied: 30 linear feet ; Approximate number of items: 425 Language: Collection material is primarily in German and some items in Polish.
    [Show full text]
  • Guides to German Records Microfilmed at Alexandria, Va
    GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA. No. 77. Records of the National Socialist German Labor Party (Nationalsozialistische Deutsche Arbeiterpartei—NSDAP) Part IV National Archives and Records Service General Services Administration Washington: 1980 This finding aid has been prepared by the National Archives as part of its program of facilitating the use of records in its custody. The microfilm described in this guide may be consulted at the National Archives, where it is identified as Microfilm Publication T81. Those desiring to purchase microfilm should write to the Publications Sales Branch (NEPS), National Archives (GSA), Washington, DC 20408. Some of the papers reproduced on the microfilm referred to in this and other guides of the same series may have been of private origin. The fact of their seizure is not believed to divest their original owners of any literary property rights in them. Anyone, therefore, who publishes them in whole or in part without permission of their authors may be held liable for infringement of such literary property rights. Library of Congress Catalog Card No. 58-9982 GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA. VA. No. 77. Records of the National Socialist German Labor Party (Nationalsozialistische Deutsche Arbeiterpartei—NSDAP) Part IV National Archives and Records Service General Services Administration Washington: 1980 INTRODUCTION The Guides t£ German Records Microfilmed at^ Alexandria, Va. The records of the NSDAP Hauptarchiv are very mixed, as are the constitute a series of finding aids to the National Archives documents from the Rehse Archiv, which may have been incorporated and Records Service (NARS) microfilms of seized records of into the NSDAP archives at some point.
    [Show full text]
  • Cr^Ltxj
    THE NAZI BLOOD PURGE OF 1934 APPRCWBD": \r H M^jor Professor 7 lOLi Minor Professor •n p-Kairman of the DeparCTieflat. of History / cr^LtxJ~<2^ Dean oiTKe Graduate School IV Burkholder, Vaughn, The Nazi Blood Purge of 1934. Master of Arts, History, August, 1972, 147 pp., appendix, bibliography, 160 titles. This thesis deals with the problem of determining the reasons behind the purge conducted by various high officials in the Nazi regime on June 30-July 2, 1934. Adolf Hitler, Hermann Goring, SS leader Heinrich Himmler, and others used the purge to eliminate a sizable and influential segment of the SA leadership, under the pretext that this group was planning a coup against the Hitler regime. Also eliminated during the purge were sundry political opponents and personal rivals. Therefore, to explain Hitler's actions, one must determine whether or not there was a planned putsch against him at that time. Although party and official government documents relating to the purge were ordered destroyed by Hermann GcTring, certain materials in this category were used. Especially helpful were the Nuremberg trial records; Documents on British Foreign Policy, 1919-1939; Documents on German Foreign Policy, 1918-1945; and Foreign Relations of the United States, Diplomatic Papers, 1934. Also, first-hand accounts, contem- porary reports and essays, and analytical reports of a /1J-14 secondary nature were used in researching this topic. Many memoirs, written by people in a position to observe these events, were used as well as the reports of the American, British, and French ambassadors in the German capital.
    [Show full text]