Boston, Massachusetts, US
Posts: 8
LTQ 6 - The Power of Propaganda
Triumph of the Will becomes a powerful propaganda tool with its portrayal of the Nazi party, and the way it purposefully makes the film engaging. For example, Leni Riefstahl mentions how to make his speeches more interesting, instead of just filming Hitler standing and talking, she had the camera pan and spin around him so it was more visually appealing to the eyes (The Wonderful Horrible Life of Leni Riefenstahl). These kinds of tactics are what further caused Germany's engagement with the Nazi Party, and overall filled people with the need to join the Nazis because of the way they would be ousted if not.
Leni Riefenstahl has full responsibility for the actions that resulted from her film. Right from the beginning--even after seeing what happened to the Nazis--she describes the film almost as a passion project. During the documentary, she reminisces on old techniques she used--like attaching a camera to the building that will move it up and down--and regards it all with a sense of pride (The Wonderful Horrible Life of Leni Riefenstahl). She has no acknowledgement of the repercussions of her actions. It would be a different story if she felt a sense of remorse or regret, but it is evident based on the documentary that that is not true. Leni Riefenstahl was commissioned to do this project, but it was also something she was seeking out. She mentions how she wanted to enter the realm of filmmaking and directing. Simultaneously, she states that a lot of the decisions made were not her own, and that she herself was just a bystander; based on literal video evidence this is not true, as in multiple scenes you can see her behind the camera or assisting in other ways. She should have responsibility because of the way she cannot even acknowledge the impact of her work, and because of how throughout it was on her own end. Now, she has become more of an enabler than ever, as she simply regards her film as a work of art. It would have been more difficult to speak out then, since going against the Nazi regime was more out of the ordinary and could cause serious repercussions, but even in the modern day era she still states her video was “not really about the politics” though it was the center of it (The Wonderful Horrible Life of Leni Riefenstahl).
In retrospect we cannot believe that Leni Riefenstahl was apolitical. Her actions deter us from the conclusion. Though she claims that the film was simply a passion project, there are many points of evidence that show that she had a generally good relationship with Hitler. Her legacy as an artist and filmmaker should always be tied to her propaganda work for the Nazi regime because in retrospect, the impact of the Holocaust is larger than the impact of her other works, and we should not forget that despite the possible impacts of her other works.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda: Triumph of the Will
Triumph of the Will was such a powerful propaganda tool because it was capable of connecting with the masses and allowed civilians to completely identify with state power. Triumph of the Will was a more artistic rendition of traditional propaganda. As “The Mass Psychology of Fascist Cinema” by Frank P. Tomasulo states, “It does not really articulate any specific political policy or substantive ideology. Instead, preliterate symbolic imagery and vague patriotic ideals appeals are used to address the emotional concerns of the populace. Indeed, Hitler repeatedly stressed that one could not sway the masses with arguments, logic, or knowledge, only with feelings and beliefs.” Thus, the documentary established a “cult of personality” around its central star, Hitler, as well as a mystical aura with nature and traditional family-based patriotism. The film often depicts Hitler with the sky, earth, and animals, Christian and pagan religious connotations, flags, parades, torchlight rituals, and military symbols. It was also capable of appealing to civilians through camera angles, editing, lighting, set design, and narration, which worked together to emphasize patriotic themes and national identity. Specific scenes, particularly ones that showcased large attendee populations at rallies, illustrated a picture of power, strength in numbers, and support for the fascist regime. By feeling unified with an authoritarian father figure, people also felt unified with their fatherland, which ultimately produces the confidence and fervor that an individual feels from nationalism. Triumph of the Will has made an undeniable impact on the German populace at the time of Nazi ruling, garnered large amounts of support for the Nazi cause, and influenced generations of civilians. The creator, Leni Riefenstahl, holds some responsibility, because her creation ultimately hurt people and caused many to suffer by glorifying the Nazi party and ideology. It had physical consequences decades after its creation, and continues to affect the way people view Nazism and propaganda today. She was definitely responsible for the film’s imagery, and knew of the effect on audiences, because she was in charge of directing and editing, and would hand-pick videos, carefully structure scenes, and edit in a way that directly impacted a viewer’s perception of the contents. Leni Riefenstahl should be remembered, of course, by all of her masterful and artistic directing of films, and her legacy should not solely be focused on Triumph of rhe Will, but it’s important to remember in a historical context, that she had been capable of enabling the Nazi regime through her decision to create propaganda for it, and that it had taken part in the oppression of millions. Although she claims that she separated her work from politics, it’s difficult to believe in retrospect when there’s evidence of her having a friendly relationship with Hitler and other high-ranking Nazis. She would have eventually showed some level support, regardless of real or fake, for Hitler and his militaristic exploits, and it then becomes difficult to distinguish her duty and obligation from a personal willingness to contribute to the Nazi regime.
Brighton, Massachusetts, US
Posts: 8
The Triumph of the Will is an extremely powerful propaganda film because of the realness and sense of patriotism it captures, and expands to the regular person. It gives German culture an artistic lens, showing off the mysticism and beauty that the Nazi Party brought to their society. Specific images such as in the movie(36:26), the large population being held at rallies, and the insane number of people who showed up, brings an acknowledgement to the power the Nazi party holds, and what great amount of influence they have had on the German community. Movies and media in general are very able to have an impact, in how they move a person. With the right amount of passion, and movement, movies can truly have a large hold on people's morals, and what they believe. The German population were already being beholden to propaganda, so they didn't truly understand the reality, making it no problem for them to believe anything otherwise. And Leni Reidenstahl created such a powerful movie, that both uplifted the opinions the Germans already had, and gave them new ideas, that the Nazi’s have united them like no other. The film was shown at every theater, and it was impossible for the community to not see it. People were made to watch it, and learn and live by it. This was another reason the movie was so impactful on the community, because it became a lifestyle.
I think Leni Riefenstahl had a big part in the spreading of Nazi ideology, but she wasn’t the only one to blame. Anyone could have created a film with the same methods, and that sent the same message and Riefenstahl’s. The Triumph of the Will was such an artistic film, that even if someone else decided to make it, it wouldn't have had that much of an impact.
I believe separating the art from the artist is okay at a specific point, where the negatives of the artist does not directly affect the art. However, I do think Leni Riefenstahl's story is different, because it was the other way around. In the clip of The Wonderful Horrible Life of Leni Riefenstahl that we watched in class, she explains that she is not affiliated with Hitler and his actions, but we know that she was close with him, and wasn’t threatened by his words. While she says she does not agree with the messages she was helping to create, she still participated in creating such a thing that had a hold on so much tragedy, she is still affiliated with darkness. Knowing how powerful Hitler was, she still decided to go along with the creation, even if she didn't agree with it.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda
Triumph of the Will is a powerful propaganda film made by Leni Riefenstahl that portrayed the Nazi party in a positive light. It was shot at the Nuremberg rally to evoke a sense of awe for the Nazi party. It showed them as disciplined and organized and their huge following which appealed to many Germans at the time. This organization displayed by the Nazis was appealing to many Germans because previously, in the Weimar Republic, there was a lot of disarray and chaos and the government and economy were in decline. When you watch Triumph of the Will, it doesn’t look like a documentary because of the dramatic angles and the creativity Riefenstahl used to make the film. It frames Hitler as a savior to all Germans having restored discipline in the regime. The film shows the great sense of nationalism that Germans had for their country, specifically, there was a scene where Nazis would stand and say the region where they were from. This scene was to show the idea that Germany is one no matter where you come from and everyone is united. In an interview with Leni Riefenstahl, she claims that the “documentary” was not a propaganda film and she denies any support of the Nazi party. She repeatedly says how she was not political and all she was doing was filming Hitler at his rallies and not taking much creative license. But, when watching the interview you could see her pride and excitement when describing the camera she attached to the flagpole to capture one of Hitler’s speeches. She also attached cameras to cars and was able to capture the orderliness of the Nazis and how many of them there were. She might not have been aware of how big an influence her film would be on the public but she was mindful of how it portrayed the Nazis. I think she should be held accountable for this film and no matter her intent, it did end up being one of the biggest propaganda films at the time. I don’t think that Riefenstahl should be considered “apolitical” because she obviously had ties and biases towards the Nazi party. She stated in the interview that she was his friend and he commissioned her personally to create this film for him. She created a film that illustrated the Nazis in a very positive light and convinced many people to support the party. Riefenstahl knew the effect and power that Hitler held and I think she should be remembered for creating this propaganda film and people should be aware of this when they watch her other works.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda: Triumph of the Will
Triumph of the Will is such a powerful propaganda tool since it was meant to spark a feeling of pride in those who watched it and highten their nationalism. Since the film was shown to epople of all ages so many times, it was able to resonate with them. Based on the documentary we saw about its creation, we can also conclude that another reason as to why the propaganda was a success was because the film was meant to be an artistic film and draw people in with it. The most famous scene from the movie, a part where Hitler is walking down a path with thousands of Nazi members standing in unison, was meant to evoke a feeling of awe and show people the power of the Nazi party. As for those who weren’t considered Aryan, this scene may have instilled a sense of fear or dread towards the Nazi party since the film was meant to display their power and control they had over Gremany. I believe that Leni Riefenstahl can be held at least a bit responsible for what happened during the Nazi era and the Holocaust, but not a lot. While she did put in a lot of effort into her film, she wasn’t the one who commissioned it and she may have been pressured to make the film. However in the documentary, she was seen to be proud of her work and this film when in reality I believe that she should be ashamed of it. I think that the film had a major effect on the spread of Nazi ideology and since it was shown in many classrooms, it probably enabled the Nazi regime a lot. I can’t believe that Riefenstah was “apolitical” since she was seen with Hitler so many times and even went to his house, I believe that she probably supported the Nazi regime especially with the fact that she made a film on how great the Nazi regime is and Hitler. I don’t think that Riefenstahl should be remembered as a good filmmaker, she should be remembered as a member of the Nazi party who enabled it. In the documentary she seemed really proud of her work and would talk about all the shots she got during a scene or how she managed to cut down a speech. If Reifenstahl was truly remorseful and shameful of her actions, she wouldn’t ahve been so excited about her work, she probably had a good idea as to what her film caused for the future, but she still talks about it in such a great light. I think that this is one of the instances where the artists can’t really be separated from the art.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda:Triumph of the Will
The Triumph of Will, a quiet documentary showcasing the glories of the Nazi Regime, has been debated on the basis of its intent. For most people, the documentary serves as the ultimate medium of propaganda, while a minority of people (ie. Nazi Sympathizers) argue that the movie has no political value. Even Leni Riefenstahl used the argument that her political opinion wasn’t being presented, and therefore it could not be a tool of propaganda. However, it is the implications of the movie that make it such a successful influence to the majority of German Society. The film's use of sweeping aerial shots, dramatic lighting, and (choreographed) mass rallies created a sense of unity and by portraying Adolf Hitler as a savior descending from the skies, the film resonated deeply with many Germans who were disillusioned after World War I and the Treaty of Versailles. In the Mass Psychology of Fascism Cinema, it states “True to form, the documentary establishes a ´cult of personality´ around it´s star, a mystical aura associated with nature, religion, and a ´folkish´ family based patriotism. This film spectacle often connects its heroic leader with the sky.. “(Tomasulo). It presented an idealized vision of the Nazi Party as a force capable of restoring Germany's greatness, inspiring hope and national pride among ordinary Germans. More specifically, However, the film’s focus on Aryan ideals and exclusionary imagery alienated marginalized groups such as Jews, Roma, and others considered “outsiders”. Although these ideas of exclusion are very subtle, they were already heavily institutionalized, which meant any force of implication to hatred continuously confirmed the feelings of those who were Anti-Semetic. In Leni Riechfeastal’s interview with George Hickenlooper, she remarks, “In ʻ34 everyone would have done Triumph. Even a communist [name?] was interested in making it, would have been happy to get the job. 1/3 of the money came from UFA. Hitler said: Donʼt go to the party for the money to make the film”. This quote reinforces the ignorance Richefensthal developed while making her film, ignoring the principles/ morality of making such a false art, and blaming the assumed arrogance of others. By creating a piece of propaganda that so effectively communicated Nazi ideology, she became an enabler of the regime’s messaging and psychological influence. Although she may not have anticipated the full extent of the Nazi Party’s crimes, her work undeniably contributed to its cultural power and control. The film was created after the Nazis’ anti-Semitic policies and violent actions were already public, raising serious questions about her moral responsibility.
Boston, Massachusetts, US
Posts: 8
Triumph of the Will was such an effective propaganda movie because it featured a very close look into the Nazi Party. This, along with the fact that it was the only movie played in theaters for a period of time, allowed the audience to completely soak in the content. Swastikas and recorded mass rallies gave the impression that the Nazi Party was widely supported throughout Germany, influencing others to join the movement as well. Leni Riefenstahl argues that her documentary was meant to be just that, a documentary. She intends for the lack of commentary to allow the watchers to form their own opinions on Hitler’s regime, rather than to sway the public opinion. However, the images and specific scenes of the movie speak for themselves. Hitler was recorded just as he was viewed by his Youth: a God. This perception can persuade others to adopt similar ideas as Hitler.
Despite this, I would not say that Riefenstahl is directly responsible for the events during the Nazi-Era or the Holocaust, as the only one to assign full blame to is Hitler himself. While she did, possibly unintentionally, play a role in how people perceived the Nazi Party, it wouldn’t be right to fault her for what Nazis did to the minorities of Germany. It is always important to differentiate intent from product. Even Leni said she didn’t believe in Hitler’s ideals and saw things that involved them as a “pact with the devil.” Hitler hired her to produce a movie based on his party using her artistic skills and she simply did her job. Granted, she could have declined his proposal, saving both herself and the citizens of Germany from scrutiny.
I believe it would be appropriate to remember Leni Riefenstahl as just a powerful and talented artist and videographer. As she has never announced herself to be a firm believer/follower of Hitler’s Party, at least not publicly, it wouldn’t be appropriate to label her as such. Reconstructing the meaning of the quote “separate the art from the artist,” Leni’s decision to create a movie for Hitler shouldn’t define her entire legacy. Although it is, of course, important to be mindful of her controversial works, she did not only create damaging content.
I’ve discovered that Riefenstahl was accused and arrested for being a Nazi. While I stand firm in my beliefs, it is a little suspicious that she is regarded as such a dangerous being, as she claims not to be. Realistically, Leni Riefenstahl faced the consequences of her detrimental actions, whether guilty of discriminatory thinking or not.
Boston, Massachusetts, US
Posts: 8
Triumph of the Will
Triumph of the Will is a powerful propaganda tool because, like the rallies/parades themselves, they inspire awe. These incredibly organized and large gatherings are often very inspirational to Germans and are compared to religious experiences, events that make one feel like they are part of something bigger than themselves, as seen in the film at 1:01:08 through 1:04:52. This film highlights this phenomena and is able to cause these feelings just by watching it. The film and rallies/events themselves made Germans feel powerful and important, but likely had the opposite impact on people not considered Aryan. It caused a further divide and probably made some of them feel bad about the fact that they do not fit into this mainstream German culture. Leni Riefenstahl was behind this film and its effects. I think that she has some responsibility for the impacts of the film, but I would not say an extremely large amount. The very intense feelings of nationalism and anti-Semitism that the film caused were already present and were going to continue to be present whether or not the film existed. Also, the rallies/events and extreme amount of propaganda were present anyway. I do not think that the events of the Holocaust or Nazi era would be very different if this film did not exist, because there was so much similar material present during this time. However, I think that her responsibility lies in the fact that she knows the film would conjure powerful feelings that lead to even more dangerously extreme nationalism and anti-Semitism. She was aware of what she was doing and she was aware that, whether it was her doing it or somebody else, it would help the Nazi party in the end. In terms of separating the art from the artist, I think that this is always somewhat difficult. I think it depends on many factors, such as intent. To me it is somewhat unclear about Riefenstahl’s intent when making this film, and I am unsure about the intensity of her support for the Nazis. Even though she was also, like many Germans, taught to support them, I think that she must be held accountable for her actions because they did cause further harm. In The Mass Psychology of Fascist Cinema (Tomasulo, 1998), it describes the great detail that the film goes to in order to paint the Nazis and Hitler as powerful and right. This cannot be ignored when discussing Riefenstahl’s responsibility - she was very intentional in how the film was meant to impact the people of Germany. This film, along with the many other pieces of propaganda used during this time period, significantly impacted the Nazi’s ability to gain power.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda
Since the Triumph of the Will would have been seen almost everywhere, every German would have seen it at least once, influencing their beliefs and resulting in a greater acceptance of Nazi behavior. The film evokes a feeling of strong nationalism. Since the documentary mentioned that the film was made to be an art form, I believe that this means that there are various metaphors and or meanings the average German is supposed to walk away with after watching the film. In the beginning of Triumph of the Will it shows an aerial view of german and the choice to use a plane is to represent how the german people view themselves higher compared to the rest of the world. This use of film would influence more people to join the nazi society as they see how large and powerful it is as seen with the motor tours of the crowds, additionally with people joining they would also justify the actions of the holocaust as everyone around them would be so accepting of it.
Leni Riefenstahl is responsible for promoting and spreading the acceptance Nazi ideology during the Nazi Era and Holocaust, to note it wasn't only her who contributed to this strong feeling but she had contributed greatly. Her film was filmed with pro Nazi film that is evident to be used with a lot of dedication and effort. She should be responsible for what the film contains since she was the director and had the power, it is known that she was told to do this however her efforts in the film and its everyday use afterwards makes her responsible. I believe that even if she was just doing her job effectively she did serve as an enabler for the Nazi regime as her work served as a power tool of propaganda which was extremely influential.
Leni Riefenstahl should be remembered for her involvement in the nazi party as she had an influential role. I do not believe we can support Riefenstahl's assertion of being apolitical as her lack of taking a stance makes her politically in favor of the Nazi regime. Her legacy should be connected to her work for the Nazi party as it shouldnt excused. In order for there to be a separation for the artist and the art the artist has to make a change after their art to try to make a change, but even at that point the artist's work cant be excused given its possible great severity.
Boston, Massachusetts, US
Posts: 8
LTQ Post 4: The Power of Propaganda--Leni Riefenstahl's Triumph of the Will
I think Triumph of the Will was an extremely successful and effective form of Nazi propaganda. After a time period where Germany felt betrayed and mocked by Europe, it was easy for the German people to feel a lack of glory. The scenes from the film restore that glory the Germans wanted. According to the documentary on the Hitler youth, the children felt like “they had a place in the world”. This is evident in Triumph of the Will when we see how Hitler treats the children, letting them march with him in the procession. This is one example of the many ways Hitler made his chosen groups, “the superior”, feel strength and feel special. I think Leni Riefenstahl did play a massive part in the endorsement and support for the Nazi party. However, I do not think she should be held responsible. Hitler’s affect on the minds and ideologies of the German people was profound. Leni Riefenstahl is not an acception. Although Leni Riefenstahl was highly defensive in her interviews about the film, I think it was hard to find anyone who was not defensive about their participation in the Holocaust, no matter how large their participation was. However, I do think Leni Riefenstahl believed in some of the ideologies, evident in her close relationship with Hitler. Normally, the drastic choices Hitler took, even before the mass murdering of Jewish people and others, would turn someone off of being their friend if they did not believe in them. I also think that Leni Riefenstahl’s stylistic choices played a large role in how the film was perceived. In The Mass Psychology of Fascism by Frank P. Tomasulo, he states that “ Although Triumph of The Will was made about party convention, it does not really articulate any specific political party of substantive ideology?”(Tomasulo 101). I disagree with Tomasulo on this statement. I think the way the film highlights the Nazi party is rather specific to the goals of the movement. This film was intended to gather support for the Nazi movement, and anyone who knew anything about this movement, since it is highly popular, could see how the film spreads the Nazi message. Even with the constant display of right arm raising alone, the film prominently displays mob mentality, unity, and us versus them. These themes make the film specific to nazism. I think Leni Riefenstahl's legacy could be easily tied to her work for the Nazi’s. Her legacy is important and effective, even if she supposedly did not intend it. I would like to know however how the film would be different if someone else directed it? That could help us see how much of an impact Leni Riefenstahl herself had on the movement.
Boston, Massachusetts, US
Posts: 8
The Power of Propaganda: Triumph of the Will
Triumph of the Will was a powerful propaganda tool for Nazi Germany because it glorified Hitler and the ideologies of the Nazi party. The film itself used cinematic tools that were way ahead of the film’s time. It not only used different images, but Leni Riefenstahl intentionally used videos that would flow well and had angles that suited the overall flow (The wonderful horrible life of Leni Riefenstahl). Not only did the contents of the film attract viewers, but also the cinematography of the film was magnificent for that time period. The film had no narrator, meaning it was only full of Hitler’s captivating speeches. This made it even easier for people to unconsciously believe everything that was said in the film. Those that did not have the chance to hear Hitler’s speech in person now have the chance to view it in cinemas, further spreading Nazi ideology. People that were not considered Aryan now were exposed to Nazi ideology because the film was shown everywhere. Since most people viewed this film, non-Aryans no longer had an excuse to not conform to Nazi ideology.
Leni Riefenstahl is responsible for the spread of propaganda during the Nazi era and the Holocaust. Although the making of the film was not directly responsible for what happened during the Holocaust and the Nazi era, it was a major contributor to the events. While making the film, there is no way that she didn’t know the effects of the contents of the film. She intentionally encouraged people to support Hitler, which can not be let off as just doing what she was commissioned to do. In order to devote that much time and effort to something, that person would need to even somewhat believe in what they were doing. Riefenstahl claiming that the film was not political does not make any sense because it encouraged support for the Nazi party. Propaganda was one of the main strategies to gain support for the Nazi party, so claiming that a film filled with propaganda to not be political is ridiculous. Riefenstahl’s legacy as a filmmaker should be tied to this film. The masterful cinematography of the film should be recognized, but the contents of it should not be. Since this film played such an important role in propaganda for the Nazi regime, it cannot be separated from the artist. A film that Riefenstahl spent so much time and effort on should not be completely disregarded from her works.
Boston, Massachusetts, US
Posts: 8
Learn to Question Post 5: The Power of Propaganda--Leni Riefenstahl's Triumph of the Will
Triumph of the Will, directed by Leni Riefenstahl, continues to act as an extremely powerful example of propaganda in films, specifically because of its ability to manipulate imagery to control and shape public perception. Being about the 1934 Nazi Party Congress in Nuremberg, the film used “awe-inspiring” visual effects, such as aerial shots, precisely staged formations, and “heroic” close-up scenes of Adolf Hitler, to evoke a sense of unity, and strength. For ordinary Germans at the time, these scenes, along with the music and rallies, were intended to emphasize a sense or feeling of national pride, and purpose, presenting the Nazi regime as an inevitable and extremely powerful force for Germany’s renewal. For non-Aryan Germans or those of minority groups, such as the Jews, or political dissidents, the impact of this propaganda tended to be more negative, reinforcing the constant marginalization and dehumanization that they already experienced. The depiction of pure, Aryan abundance suggested that those who did not conform to this ideal were inferior to the Nazi vision of a perfect society.
In terms of Riefenstahl's responsibility, her role in Triumph of the Will cannot be separated from the devastating consequences of the Nazi regime. While she did claim to be "apolitical" at the time and focused on filmmaking as a passion of art, the effectiveness of her work as a tool and weapon of Nazi propaganda cannot be ignored. Riefenstahl's work contributed to the crafting of the image of Hitler as a “ seemingly god-like” leader and the Nazi movement as a powerful and unifying force. To further emphasize the usage of Reifenshtahl’s work, in The Mass Psychology of Fascist Cinema by Frank P. Tomasulo, it is mentioned that “preliterate symbolic imagery and vague patriotic ideals appeals are used to address the emotional concerns of the populace.” Indeed, Hitler repeatedly stressed that one could not sway the masses with arguments, logic, or knowledge, only with feelings and beliefs.” This emphasis on targeting the emotions of people connects to how Riefenstahl’s work effectively made people believe that Hitler was some sort of God and unified the people under this belief. Although Riefenstahl may not have directly participated in the violence of the Nazi regime, her work without a doubt contributed to the regime's intentions. In Triumph of the Will, it can again be seen that Riefenstahl mentions she had nothing to do with Hitler’s intentions and actions, however, it is noted that the two had a fairly close relationship. This collaboration she had with the Nazis has now led to ongoing debates about whether she was only trying to fulfill her commission or whether she genuinely attempted to enforce the regime's message.
In retrospect, Riefenstahl’s claim of apoliticism seems less reasonable, given her deep involvement in the propagandistic cinema creations and her refusal to separate and distance herself from Nazi ideologies. Her life as a filmmaker is irreversibly tied to the propaganda work she did for the Nazis, and this association cannot be ignored. However, the question of whether the artist can be separated from their work is complicated in the case of Riefenstahl. Her achievements as a filmmaker are undisputable, however, the dire consequences of her work, especially its role in promoting Nazi ideals and furthering their genocidal movements, mean that her actions must always be considered with that information. Art, especially when used for propaganda, cannot be isolated from its consequences. Therefore, Riefenstahl's work stays connected with the horrors and tragedies of the Nazi regime.
