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.