learntoquestion ltq discussions

Questions to Consider:

1. What makes Triumph of the Will a powerful propaganda tool? What impact did specific scenes or images have on ordinary Germans? What impact did specific scenes or images have on Germans who were not considered Aryan or were different from mainstream German culture?

2. What responsibility does Leni Riefenstahl have for what happened during the Nazi era and the Holocaust? Should she be held responsible for what the film contains and the very powerful effect that it had on audiences? Was she simply doing what she was commissioned to do effectively, or did she serve as an enabler for the Nazi regime?

3. How should Leni Riefenstahl be remembered? In retrospect, can we believe Reifenstahl’s assertion that she, personally, was“apolitical” and did not believe in the Nazi ideology? Should her legacy as a filmmaker and artist always be tied to her propaganda work for the Nazi regime? Can the artist be separated from the art when the art has such profound and dark consequences?

Word Count Requirement: 400-500 words

Sources to Reference:

Please refer to the ideas, either using a description, quote or paraphrasing, from at least two of the sources in your response and please respond in some way to at least one of the question sets.

Clips from Triumph of the Will (1935):

1. Beginning of the film to Hitler’s arrival at his hotel in Nuremberg (0:00 through 9:08)
2. The Hitler youth preparing for their rally (12:23 through 17:57)
3. The labor ceremony of loyalty; Hitler addresses the Reich Labor Corps (31:23 through 35:56)
4. Hitler addresses the Nazi youth rally and does a motor tour of the crowds (45:36 through 51:31)
5. The parade of stormtroopers with the flags and insignias from regions throughout Germany (1:01:08 through 1:04:52)

The Mass Psychology of Fascist Cinema (Tomasulo,1998).

Clip from The Wonderful Horrible Life of Leni Riefenstahl (1993). (1:03:55 though 1:32:04)

Rubric to Review: LTQ Rubric

“You see that lift there?” asks Leni Riefenstahl, excitedly pointing to a video of a camera suspended in between two enormous Nazi banners. “We had such difficulty getting permission for that,” she smiles proudly, “let me run it back.”

Leni Riefenstahl’s film, Triumph of the Will, has faced widespread controversy in the wake of World War II due to its staggering influence as a propaganda film in Nazi Germany, intention or no. Riefenstahl is quick to defend herself. She is an artist, not a party member. The film is a documentary, not a propaganda film. She may be the director, but the idea of her being an organizer is simply absurd (TWHLOLR).

Riefenstahl has no doubt had to face a lifetime of accusations and questions about her involvement in the furthering of Nazi influence, which explains her defensiveness—why her expression changes so quickly from a glowing smile when the interviewer applauds the placement of the shots to a blank stare when he asks if she was responsible for them. She is an artist, and as an artist, she is proud of her work. She would prefer not to acknowledge the damning flaws of her art, so she opts instead for neutrality. She insists that the film was not political, when its sole subject matter is the Nazi political party. She insists she was not a party member, and therefore not to blame, yet she made no move to rebel against the obvious maliciousness of the party.

As an artist, Leni Riefenstahl of all people should understand that art has power. Film, in particular, “constitute[s] one of the most modern and scientific means of influencing the masses” (Tomasulo). As a filmmaker, with access to the materials and means to make a statement, she chose not to. She chose to preserve her own privilege, to put herself above her morals (if she had them), and make a film that she—no matter her claims to the contrary—knew would be used as widespread propaganda for a corrupt movement that she herself saw enough of to refuse to participate in. Although the direct request from the Führer does lessen the blame a little, the issue is that even after the Nazi party—and the pressure to conform—was removed, she refused to acknowledge the fact that her work did damage. She refused to admit that she was in such a place of privilege that she was a) unaffected by the dark aspects of the party she strategically chose to omit, and b) able to state matter-of-factly to Adolf Hitler that she would not be making any other movies for him and walk away free and breathing. Her privilege allowed her to be neutral. Were she from any other background or social status, the story would have been very different. Her fault is her selfishness. She chose to preserve her social status both during the Nazi regime and after it, always the neutral, blameless artist behind the camera.

Triumph of the Will was, according to Riefenstahl, a non-propaganda film that Hitler and the Nazi party made her do. However, once one has watched the film, it is clearly far from that as it displays only the “best” of the Nazis, omitting anything that might push the German people away from the Nazi party. One of the clearest examples of how the film was used as a propaganda tool is the representation of the supporters at rallies in Nuremberg. As the cameras panned to a sea of Nazi supporters that seemed to never end, Germans watching the film would have no reason to believe that there were any Germans who didn’t support the Nazis. Any Germans on the fence about the Nazi party would be overwhelmed by the power of the masses and would soon follow in the footsteps of those hundreds of thousands depicted in the film.

While one could say that the film was simply displaying the reality of the situation in Germany, it could have been better represented. Riefenstahl said that she didn’t include commentary in order to avoid biasing the viewer, but the commentator could have clarified facts to prevent the film itself from biasing viewers. Rather than simply show Nazi rallies with hundreds of thousands, Riefenstahl could have elected to have a narrator mention that despite the large numbers, many had no choice in attending, or went to ensure the safety of their family. Moreover, the depiction of an overwhelming crowd of Nazi support wasn’t harmless, as fascism is a movement of the masses. The Mass Psychology of Fascist Cinema includes a quote from William Reich that claims “Fascism is to be regarded as a problem of the masses, and not as a problem of Hitler as a person or the politics of the National Socialist Party.” This quote highlights the importance of support for a fascist regime, as Hitler and the Nazis would have had little success without the masses. By showing the Nazis to be a glorious party through uplifting music, scenes of massive crowds, and depiction of Hitler as a strong leader, Riefenstahl added to the masses, without whom the Nazi party could have never existed.

For this reason, as well as several others not discussed, Riefenstahl should clearly be held accountable for being a part of the Nazi movement. It is evident that she could have avoided making the film, having already been in good graces with Hitler, but instead she chose to make a film that not only appeased the request of Hitler, but went above and beyond to showcase the Nazis in a good light, inspiring Germans to support their fascist movement. While Riefenstahl claimed innocence on all fronts, she would have known the political situation, as a filmmaker must always understand the topic they are presenting on. Therefore, she should not be let off the hook as a filmmaker, but she should be regarded as a mastermind of Nazi propaganda who helped push the German fascist movement forward.

Triumph of the Will such a powerful propaganda tool because it was a popular film that used new ideas for the time and was filmed in such a way that captivated audiences, both Nazi and not, so much that it’s seen as one of the best documentaries or propaganda films ever, if the Nazi aspect is removed. The scenes of Hitler’s address of the Nazi Youth Rally and the showing of the immense crowds that have come to praise Hitler most likely would have the intended impact of pride of being German and the mob mentality from the crowd would probably make people more willing to do whatever Hitler requires of his subjects. The overwhelming crowds and all of the large Nazi flags would probably worry Germans who weren’t considered Aryan or those who led lives that were different from mainstream German culture because they would be persecuted and shunned by society. This movie could have sparked fear even in Germans who led lives that were “acceptable” by Nazi standards because if they didn’t see the movie or hadn’t been going to rallies, their names could be reported to the secret police and that was it.

Leni Riefenstahl should be held accountable for promoting Nazism because, although she denies any accusations of being a Nazi or her making of Triumph of the Will being political in any way, her excited and pleased facial expressions as she describes filming the movie, and how some parts required more ingenuity than others, such as when she had to create a track around Hitler to make his speech more interesting. She may not have been as political as other Germans or Nazi officials, but she was considered Aryan by Hitler, who treated her with respect when asking her to make the film, and who Riefenstahl had enough connection to for her to put forth conditions on the making of this movie. She’s not responsible for the Holocaust, but she’s partly responsible for the propaganda and the strength of the Nazi regime, although if she hadn’t made the film, someone else would’ve had to make it. She had a job and she did it well, but it unfortunately benefitted Hitler and the Nazis. She served as an enabler for the Nazi regime and it seems like she knew it and everything it entailed when she made the movie, but she doesn’t want to seem like a Nazi in her interviews.

Triumph of the Will is very powerful propaganda because it did its job excellently, glorifying the Nazis and painting them as powerful, quasi-mythical, and the inevitable next step forward for Germany. The scenes depicting the massive numbers of Nazi supporters showed just how far Nazism had spread in society and demonstrated the sense of unity & camaraderie felt among party members. The film highlighted the grandeur of the rallies, with bands playing and soldiers marching in unison, while completely ignoring any negative aspects of Nazism. It only showcased what looked powerful, making the Nazi party seem (to those who didn’t know any better) perfect.

I think Leni Riefenstahl should be held responsible for what Triumph of the Will played a part in causing. The film was shown to people across Germany & beyond and was a major reason that many people decided to follow Nazi party. She did more than just create the movie she was commissioned for; she came up with new film-making techniques, putting hours of work & thought into the project—one that she could (and should) have said no to in the first place.

Keeping in mind the harm enabled by Triumph of the Will, Riefenstahl was still a skilled cinematographer. I think we can recognize the expertise that went into making her film if, and only if, we also acknowledge & denounce her support of the Nazis’ practices and ideology. I believe Reifenstahl was a Nazi supporter despite her assertion that she was “apolitical.” In a time like that, with a group doing such obviously wrong things, being truly apolitical is nearly impossible. To be apolitical, she would have had to have been incredibly ignorant to what was going on around her. While that is a possibility, she would have had to put in so much effort to cover her ears to the truth that it is highly unlikely, especially given how closely she worked with Nazi leaders like Hitler. Being that ignorant requires a lot of privilege—most people are not fortunate enough to be unaffected by their country’s policy—and, while she could have had that privilege given her renown, her direct work with the Nazis meant she couldn’t completely ignore what they were doing.

Further, I don’t think she was apolitical given how proud she was of Triumph of the Will after the fact, as seen in The Wonderful Horrible Life of Leni Riefenstahl. I think almost everyone, if they were in her shoes, would renounce Triumph after the fall of Nazi Germany, but Riefenstahl continued to applaud her work on it, even decades later. She didn’t outright voice support for Nazis, but she didn’t speak out against them either. Riefenstahl also made many other movies during her career, which would presumably feature some of the same characteristics she is so proud of in Triumph, so if she really wanted to praise her technical skill, she could still do so for her other movies—ones that did not cause so much harm. If she wanted to acknowledge the work that went into making Triumph, she would first have to have put in significant effort to speak out against Nazism & make reparations for the harm her movie caused, but because she did not, she should always be tied to the film and her pride for it.

The Triumph of the Will is a powerful propaganda tool because it reinforced loyalty and normalization of Nazi ideology, the glorization of the Nazi Party and Hitler worked to manipulate German people into obedience. Hitler was presented as a grand unfair that was destined to lead Germany. In the beginning of the text The Mass Psychology of Fascism Cinema, he’s depicted as coming down from a plane which depicted him as a divine savior sent to rescue Germany from its post World War II despair. This evoked a collective sense of power and hope, as the aftermath of World War II left many with nothing worth living for and intense feelings of despair.The film mobilized support and consolidated power.

Ordinary Germans were impacted by the film's shaping of Hitler and the role of the Nazi Party, the mass rallies and its impressive coordination conveyed a vision of unity and strength. The population of ordinary Germans found the synchronization and unity of soldiers particularly appealing in the face of economic instability and politics. The Nazi Party symbolized national discipline, which many crazed, as they were seeking order. Scenes of Hitler interacting with the crowd and his fans humanized him and portrayed him as a relatable figure, he was humanized which also fostered support. In addition, images depicting enthusiastic children in the Hitler Youth group evoked hope for the future of the German nation. It illustrated that the regime's efforts were to shape a brighter future which drew attention away from its more divisive and evil agendas. Parents were drawn to the idea of their children belonging to an honerabel and disciplined group that promised stability. Nazi principles being further embedded into the lives of youths and their ability to adhere to their rules normalized acceptance. Being a part of the Hitler Youth was viewed as desirable and eventually became a part of the natural way of life for most.

Germans who were not considered Aryan or were different from mainstream German culture were threatened by mainstream German culture. Towards the end of the film Triumph of the Will, parades of soldiers of Aryan ancestry, all with common features marched with flags, seeking to reinforce a common identity. Those who didn't fit their model were labeled outsiders and felt excluded, they weren’t included in the Nazis vision. Their lack of representation signed to them was out of place and contributed to the alienation and discrimination of minorities. Minorities felt isolated and were subjected to exclusionary policies, demonstrating the Nazi’s profound impact on Germany.

Leni Reifenstahl’s Triumph of the Will is such a powerful propaganda tool because of the positive, encouraging depiction of the Nazi party. This is seen in its awe-inspiring, strategic shots of large crowds that evoke a sense of belonging (or detachment) within the viewer. Especially in the parade of soldiers with the flags and symbols from regions throughout Germany, a sense of German pride and nationalism is instilled in the viewer. By showing that the soldiers come from all different parts of Germany, Riefenstahl may be showing the incredible scope of the party, but is likely calling upon all German citizens to join. As the soldiers file in, all holding emblems and flags with swastikas, the shot seems to go on forever. As this happens, the camera ascends, a shot that Riefenstahl was very proud of. For Germans who were not considered Aryan, they were not featured in the film. This is consistent with the overall message of the film, which was to call upon Aryans and depict the Nazi party in a positive light.

Leni Riefenstahl holds somewhat of a responsibility for what happened during the Nazi era and the Holocaust, as she contributed to one of the most prevalent pieces of propaganda. This helped the Nazi party rise and gain traction. As Frank P Tomasulo states, “Through the emotional appeal of Triumph of the Will, viewers are positioned in a very accustomed place --their own psyches. The myth, story, and spectacle created by this “nonfiction” film found receptive homes in the hearts and minds of the German viewers”. Riefenstahl was not simply doing what she was commissioned to do, but rather purposely glorifying the Nazi party. The film is not educational in the slightest, and features no components of an academic or scientific film, such as interviews or data. Instead, it is a compilation of Nazis in their best and most glorious moments.

For this reason, Leni Riefenstahl should be remembered as a skilled filmmaker, who used her skills with malicious intent. If she was truly “apolitical”, she would not have been so hyperfocal in depicting the Nazis in a positive manner, and pleasing Hitler. However, this film offers a crucial point of view of the average German, who was enamored by Hitler and the Nazi party, and wanted to do right by them. We should treat her how we treat any other Nazi fanatic or sympathizer. In this case, the art can not be separated from the artist, as the two are intertwined and can only coexist.

Triumph of the Will (1935) is often cited as one of the most effective and powerful propaganda films ever made. Its ability to shape public opinion and bolster the Nazi regime’s image, particularly in the 1930s, lies in its cinematic techniques, the use of striking imagery, and the emotional impact of its scenes by film maker Leni Rienfenstahl. The film, which documents the 1934 Nazi Party Congress in Nuremberg, uses camera work and a twisted narrative to glorify Adolf Hitler and the Nazi movement. One of the most powerful elements of Triumph of the Will is its ability to manipulate visuals to create a sense of awe and unity. The film opens with a shot of Hitler arriving by plane, dramatically filmed from below to make him appear as a larger-than-life figure. This idealization of Hitler is reinforced by the meticulous attention to the mass rallies, where millions of Nazi supporters are shown as an overwhelming, unified force. For ordinary Germans, these scenes served to strengthen their sense of belonging to a greater national cause. They were not just individuals; they were part of an indomitable and glorious collective—a vision of the Volksgemeinschaft (people’s community) that Hitler promised. For those who were not considered “Aryan”, Triumph of the Will had a very different effect. Minority groups, particularly Jews, were erased from the film, making the German society have a more homogenous appearance. This exclusionary message intensified feelings of alienation and fear among marginalized groups, reinforcing the Nazis' racial hierarchy and legitimizing their discriminatory policies.

Leni Riefenstahl was a highly skilled filmmaker, but her role as a creator of propaganda for the Nazi regime cannot be ignored. Her artistic choices were far from neutral. She was not simply a passive instrument of Nazi ideology; she was an active participant in its dissemination. Although Riefenstahl claimed she was “apolitical” and did not personally subscribe to Nazi ideology, the content of Triumph of the Will suggests she had a deeper connection to the policies. It is extremely difficult to separate Riefenstahl’s legacy as a filmmaker from her work on Nazi propaganda. The artistry and innovation in Triumph of the Will are undeniable, but they are inseparable from the dark political context in which they were created. The film had an undeniable role in promoting Nazi ideology and the horrors that followed. She should not just be remembered as an artist, she needs to be remembered as a critical enabler of one this horrifying historic event. The question of whether the artist can be separated from the art is complicated, especially when the art in question has such harmful consequences. Riefenstahl’s artistic achievements are overshadowed by the moral implications of her collaboration with the Nazi regime, making it impossible to divorce her legacy from the impact of her propaganda work.

Leni Riefenstahl’s Triumph of the Will (1935) is one of the most powerful propaganda tools in history and especially during the rise of Nazism. Nazi leaders used propaganda to manipulate German citizens, garner national pride and create a mass movement.

Riefenstahl's film, in particular, uses cinematic shots and angles that were different than any other filmmaker and made to create a heightened emotional impact of the Nazi message. The film shows Nazi unity, power, and was used to spread Aryan supremacy, national strength, and Hitler's leadership. For the average German viewer, the film Nazi Party looks like a massive almost divine force. In addition, Hitler positioned as the leader is seen in shots speaking to hoards of people this led many citizens to believe in Nazism's plans to restore Germany to greatness.

Many German citizens may have seen the film in theaters as Nazi propaganda was widely circulated in an attempt to gain widespread support for the movement. Many scenes in the film such as Hitler walking through the center of the Nuremberg grounds with thousands of viewers speaking. Similarly, the large parade of Stormtroopers with banners may have let many citizens be attracted to Germany’s new promise for unity and strength. Ordinary Germans, fighting the economic struggles of the Weimar Republic, were attracted by the idealized vision of a strong nation under Nazi leadership.
The film also impacted those who were outside of the Nazi movement and were targets of hatred. would have been starkly different. Jewish people and others who were considered "racially inferior" by the Nazis were marginalized in the vision of the German nation. The film showed uniformity and did not allow for anyone who did not fit the Nazi racial ideal. For minorities, the film communicated a sense of alienation and fear. This shows the Nazi regime’s exclusionary policies and preparations for greater acts of racial and ethnic persecution. Leni Riefenstahl has a role in the Nazi era. On the one hand, Riefenstahl claimed she was apolitical and simply did her job as a filmmaker. In The Wonderful Horrible Life of Leni Riefenstahl (1993), she argues that she was solely focused on creating an innovative and visually stunning film, not on promoting Nazi ideology. However, the Triumph of the Will has clearly been made to mobilize mass emotion and create a heroic narrative around Hitler and the Nazi Party. In addition Riefenstahl not showing any remorse and rather being proud of her job as a filmmaker shows that her work went beyond artistic expression and she was prideful in her role in promoting the Nazi regime.

Additionally. It is hard to believe that Riefenstahl was apolitical. She was not a passive observer in the regime and was an active participant in constructing an ideological vision that served the Nazi Party. While she remains a significant figure in film history, her creation must be viewed in the context of how it led to the spreading of an oppressive and genocidal ideology. Her legacy as a filmmaker should not be separated from her propaganda work.

Propaganda is one of the most powerful tools of influence, and was used to prop up the Nazi Germany through the production of films, music, posters, cartoons, and literature. The prevalence of propagandic materials that promoted nationalism and worship of Hitler as well as antisemitism and anti-Communist ideas became so normalized in society over the years that it created a new generation who saw the world solely through this Nazi lens. In a particularly effective propaganda film, Triumph of the Will, the directors used film techniques to draw in the watcher by angling the camera in several angles that glorified Hitler and magnified the size of his followers to make them look more larger and unified. This was effective in drawing in German watchers, young and old alike, who were excited by the unification of a previously broken society. Additionally, this warped view of the audience and the glorified cinematic version of Hitler shocked audiences by showing them such a large mass and inspiring upon watchers the picture of a perfect party of loyal and formidable members. This was likely thrilling to watch as a person of Aryan descent and the intense nationalism presented in the film likely evoked a sense of patriotism from watchers and even spurred action to join the Nazi Party. Another aspect that made the film effective was the use of religion and old folk music to draw support from religious followers of Christianity and Germans who were deeply connected to their culture through the traditions of folk music. One scene in the film that certainly took advantage of Christianity was when Hitler descended from the sky in an airplane and “parted the clouds” in such a way that gave him the resemblance to a god. The creator of this extremely successful film, Leni Riefentstahl, was never held accountable for her contributions to enabling the Nazi Party. While she claimed her film was simply art, and completely unpolitical, the film or “documentary” tells a completely different story that glorifies Hitler and the Nazi Party. Her attraction to Hitler’s power likely resulted in her fascination and eagerness to produce such a captivating propaganda film. However, the effects of her work were profound on society and aided in pushing the Nazi agenda. Moreover, her more recent interview in 1993 showed her lack of sympathy or guilt for her actions. This apparent lack of morality leads me to believe that she does deserve to be held legally accountable for her role in promoting the Nazi Party and enabling their power which resulted in millions of deaths. There cannot be a sole perpetrator of a movement, and Leni Riefenstahl was a key part in the success of the Nazi Party as an enabler of their dictatorship by glorification of Nazism and persuasive cinematography. Her blatant pride in the film leads me to believe she should not be remembered as merely an artist but as a Nazi sympathizer and enabler. While her work was certainly cinematic, evidenced by its effectiveness in drawing in normal Germans, it was corrupt, biased, and served the Nazi Party as a tool to influence ordinary Germans into believing in a cause that was unjust and morally reprehensible. Artists' work almost always reflects their own beliefs which makes it hard to separate their art from the artist because they are truly not different.

When watching clips of “Triumph of the Will” I noticed various details which allow it to be a very effective propaganda tool. The first and most obvious too, to me at least, is the camera angles that Riefenstahl used. Most of the angles depicting Hitler made him look authoritative and foreboding, often facing up at him. Depictions of a typical man at a Nazi rally are angled to look similar to the propaganda posters we looked at in class, notably at the part where they are all saying where in Germany they come from, with the men being made to look heroic, strong and courageous. Riefenstahl also uses depictions of crowds to demonstrate the size of the Nazi Party and to elicit fear into the enemies of the Nazis. She often shows groups of Nazis lined up in a straight line acting almost exactly the same, to show “order” being brought by the Nazis and the unifying power the regime brings.

Personally, I feel that Leni Riefenstahl does have a great deal of responsibility in the creation of the film. While I do not want to discount the fear and hardships and how one could be forced to make a film like this during an extreme totalitarian regime like the Nazis, the fact that the film is objectively well made speaks volumes about Riefenstahl’s responsibility here. If Riefenstahl was truly not passionate about what she had been “forced to” make by the Nazis then she wouldn’t have put as much effort into it as she did. Riefenstahl should be remembered as at the very least a dangerous enabler of the Nazi regime and at worst a Nazi herself. Objectively, she can not be removed from politics because her most famous work was a political propaganda film – one that propped up one of the most brutal and genocidal regimes in human history. In the interviews with Riefenstahl, she talks about topics like camera angles and the challenges she had when making the film, instead of acknowledging the extreme hurt that the film she made caused this. To me, this speaks about the sheer privilege she had in the Nazi regime. Riefenstahl is able to live to 101, reminisce about the trials and tribulations she had to make a great propaganda film, and have her name go down in history as a filmmaker, while someone hurt by the regime, such one of the many countless murdered Jewish Europeans do not get to live on and reminisce about the art they made.

The film Triumph of the Will by Leni Reifenstahl begins with text on the screen which reads “16 years after the beginning of the German suffering” and “19 months after the start of Germany’s rebirth.” This introduction sets the tone for the entire film, being a long propaganda project for the Nazis. Referencing the rise of the Nazi party as a ‘rebirth’ is obviously revering the party and acting as if the Nazis are saving Germany. Triumph of the Will uses imagery to infiltrate the psychology of its viewer. Frank P. Tomasulo gives examples of this in The Mass Psychology of Fascist Cinema: “Thus, the sequence builds from explicit individual sexual symbols to mass excitation that culminates with the appearance of der Fuhrer. Again, Hitler is backlit in order to augment his godlike aura and lighten his hair, while the youthful crowd is out of focus.” Reifenstahl uses cinematography to portray Hitler in a semi-religious way, almost like a God. This quote describes Hitler going to speak to the Hitler Youth. Reifenstahl used all tools available while making the movie to portray Hitler and the Nazi party in a positive light, but also to venerate them as some kind of savior to the state. The backing music throughout the entire thing contributes to this.

Not only is the cinematography used to revere Hitler, but the actual content of the film does as well. Tomasulo describes how in the movie, a mother and child go up to Hitler and give him some flowers, and a cat dramatically stares at him. “Images of maternal bliss, youthful innocence, and nature link Hitler to peace and love and thus create the impression that he is a benign and caring ruler to the flock.” The choice to add these things is clearly for the sole purpose of portraying Hitler as a loving, caring man.

Reifenstahl insists that no, this isn’t propaganda, and that she isn’t a Nazi, it is simply a historical, documentary film. This argument obviously lacks any merit: what was the purpose of putting that scene in where the cat looks at Hitler? It doesn’t convey some kind of historical truth about him. The entire film only exists to promote Hitler and the Nazi party, and this it did well. Triumph of the Will was very popular in Germany and spread the Nazi party across the country. I do not care that she says she is ‘apolitical’. For one, the argument that any piece of art like this can be apolitical I disagree with, I think all art is political, because it reflects the political context it was born in. Secondly, there is no way to make a film about a political party without being political. Also, I honestly just don’t care if she really ‘believes’ in Nazi ideology or not. Either way, she is an accessory to the party and contributed to making it more popular. I don’t really think it’s worth postulating about whether she deeply believes the ideology of Hitler. Either way, she is a complete piece of garbage.

Lein Riefenstahl’s Triumph of the Will is one of the most famous propaganda films in history. She was commissioned by Adolf Hitler to document the 1934 Nuremberg rally and the film heavily glorified the Nazi regime. The film is able to create a mythical image of not only Hitler and the Nazi party, but also the citizens who participated. For instance, the opening scene where Hitler is in an airplane coming down, gives him a god-like complex especially with the music added. Another notable scene from the film was the Hitler Youth preparing for their rally. The rally scene promoted a strong sense of unity and strength. The impact this left on ordinary Germans was significant as it put Hitler, his regime, and his followers onto a pedestal. This led to devastating impacts on those outside the Aryan ideal. The absence of Jews, and other marginalized groups from this ideal society depicted in the film reinforced their exclusion. Additionally, specific scenes were clues of the violence that would follow in the Holocaust. The labor ceremony of loyalty and Hitler’s address to the Reich Labor Corps also highlights the dehumanization of everyone including his followers into just components to building his ideal and pure society.

Leni Riefenstahl’s role in creating Triumph of the Will creates significant ethical questions. Although she claimed to be apolitical and just fulfilling a commission, her work has undeniably served as an enabler for the Nazi regime. The film she created seems to be meticulously planned with many artistic choices, all of which aligned with the message that the Nazis wanted to spread. Even if she felt the need to make this film for Hitler, she didn’t have to make the artistic choice to glorify them to another level. Furthermore, in certain interviews, she seemed to be very enthusiastic when speaking about the film’s content and the choices behind it. Whether or not she agreed with the Nazi beliefs is less significant to the impact her film has left. She helped advance their agenda and therefore, she should bear some responsibility for the consequences it has created. She has an undeniable talent for filmmaking which is evident through her other pieces of art but it is impossible to separate her from the purpose her film has served. Triumph of the Will cannot be viewed in isolation from its historical context because it plays such a huge role. The artistic value behind it is overshadowed by the role it played in serving as a propaganda tool for one of history’s most violent and destructive ideologies. Ultimately, her story serves as a reminder of how powerful art can be and the moral responsibility that comes along with it.