TRIUMPH OF THE WILL
The period before and during the second World War saw a rise in cinematic propaganda to attract social awareness and raise political support for the nation. “The film which the talented and glamorous director Leni Riefenstahl made subsequently played to packed houses throughout Germany, and made its own significant contribution to the glorification of hitler. The title of the film was Triumph of the Will”. Triumph of the Will is a pro-Hitler depiction of the 1934 Nuremberg Congress that sought to promote “strength and unity” (Kershaw; 1987;pg.69) by broadcasting speeches given by Hitler and the Third Reich, as well as significant imagery of those in attendance. The intention of the documentary, as expressed by the executive producer Adolf Hitler himself, was to portray the political ideologies of the Nazi party in a descrete way to entise those not interested in politics. Triumph of the Will was created as propaganda to indoctrinate the German people that the Nazi party represented strength, unity, and most importantly, Hitler.
The significance of these films was that it allowed Goebbels to indoctrinate the german people further and conceive a newculture influenced by the Nazi Party.
The portrayal of Hitler in Triumph of the Will is intended to establish/further promote his cult of personality through religious symbolism. To accomplish this, Riefenstahl uses cinematic angles and motifs to depict Hitler as a superior figure. At the beginning of the film, Hitler is presented to the audience as a God-like figure when he first appears on screen emerging from the clouds, illuminating twin cathedral spirals. By introducing him in this way, it embeds the idea of Hitler as a divine figure from the very start which will remain with viewers subconsciously throughout the rest of the film. He is greeted by an overwhelming crowd of supporters to greet his arrival which not only portrays Hitler in a positive light but drives the viewers into sentiments of adoration and respect. As the film progresses, religious imagery is subtly incorporated in many scenes to support the portrayal of Hitler as a godlike figure, including displays of church bells and citizens acting in a near-religious fervor. By including the Reich Bishop Ludwig Muller standing amongst high-ranking Nazi officials, it not only conveys a solidarity between the church and state, but the support of God’s correspondents for the Nazi regime. The film recounts the events of the parade with historical accuracy while incorporating slight cinematic adjustments to allude to religious themes. As Rheinstal directs the camera over the rally, viewers see a set up of many rows of tents set up for attendees which appears similar to religious pilgrimages such as the Hajj. The final parade of the film taking place in front of the Nuremberg Frauenkirche, a church built from the request of the Holy Roman Emperor, was absolutely intentional. Hitler’s last speech presented in the film is the most blunt comparison of the Nazi regime and religion, as he directly compares the Nazi party to a holy order, and proceeds in the process of consecrating the new party flags by Hitler touching them to the “blood banner”. Frank Tomasulo asserts that in Triumph of the Will, “Hitler is cast as a veritable German Messiah who will save the nation, if only the citizenry will put its destiny in his hands”. This was significant as at this time, the people of Germany were desperately looking for strong leadership, someone who could save them from the horrible conditions they were subject to post World War I. In a tactic to appeal to the German sympathies of this regard without becoming too political, Reihnstahl uses imagery of Hitler laying a wreath upon a WW1 memorial. Hitler desired for the film to be a propaganda piece for audiences not apparently interested in politics so that he could gain the support of the masses who were not influenced by his party campaigns. He wanted to produce something “artistically satisfying,” (Starkman; 1998, pg. 51) to disguise the realities of the political and economic climate of the nation. Hitler is dually portrayed as a man for the people and a man above the people, similar to that of Jesus Christ, throughout his speeches in the film. He delivers his speeches from the stands, a significant height above the attendants of his rallies and even members of the Nazi party itself. His leadership is supported by hundreds of thousands of dedicated followers, and they, in turn, are supported by Hitler himself.
Hitler is shown at the same time as a man of the people, who do not forget to mention this in his speeches, and as a man above the people at the same time. The Fuhrer speaks in the stands, towering above the heads of those present and even his closest party circle. He is represented by hundreds of thousands of participants, and they, in turn, are represented by the Führer. The camera almost always captures Hitler from the bottom up, while the crowds and the Nazi elite most often forms the upper plan.
One of the most attractive and impressive episodes is the ceremony of sanctification of the new standards of Sturmabteilung (; assault detachments), which was held by the veteran of this movement. “Blood Standard”, keeping the blood of Beer Hall Putsch (known also as Munich Putsch or Hitler – Ludendorff – Putsch ) martyrs, symbolizing the succession of the father’s generation, who lost the World War I and remembering the 20 years path of Hitler to the top of his political career and governmental power.
Furthermore, as Triumph of the Will focuses on depicting Hitler as the spiritual and political leader of Germany, the nation is represented by their unified desire to rebuild and restructure their great country.
Argument 2: NATIONAL UNITY. While the key motive of the Leni Riefenstahl’s Triumph of the Will 1935 movie is the presentation of Hitler as the spiritual and political leader of the German people, the nation itself is represented by a single and coordinated desire to find that very heroic future. Throughout the ‘Triumph of the Will (Triumph des Willens) film, diverse groups of people appear within the frame. Marching soldiers, SA stormtroopers and SS soldiers. Citizens of the city of Nuremberg are looking slender from the windows. Peasant families who brought the fruits of their labor to the Party Rally. Boys, the color of a nation that will lead it into a bright future. The fighters of the Labor front, who will provide Germany with their future zeal with a shovel in their hands. Even women in a crowd of pedestrians on the streets watching the action.
According to the film, the 1934 Party Congress (known as the Nazi Party Rally) was not a platform for resolving political issues, a referendum or debate, as well as the announcement of specific decisions that may influence the nation in the near future. This second Congress, after Hitler came to power in 1933, is challenged to demonstrate national unity and specifically the approval of the national socialism by the whole nation. This cinematic effect is achieved by a variety of groups of people in the film, their vocal rolls to demonstrate where someone came from. And, of course, the speeches of the party officials, and especially Hitler, are replete with assertions about this very national unity, which, in their opinion, has already become reality.
- Unity: “The Party is Hitler – and Hitler is Germany just as Germany is Hitler!” — Hess
Triumph has many scenes that blur the distinction between the Nazi Party, the German State, and the German People. There are scenes where Germans in peasant farmers’ costumes and other traditional clothing greet Hitler. The torchlight processions, though now associated by many with the Nazis, would remind the viewer of the medieval Karneval celebration. The old flag of Imperial Germany is also shown several times flying alongside the Swastika, and there is a ceremony where Hitler pays his respects to soldiers who died in World War I (as well as President Paul von Hindenburg who had died a month before the convention). There is also a scene where the Labor Servicemen individually call out which town or area in Germany they are from, reminding the viewers that the Nazi Party had expanded from its stronghold in Bavaria to become a pan-Germanic movement.
Moreover, the film makes no distinction between the Nazi party, Germany and the German people, indoctrinating people into the beliefs of the party by presenting Nazism as the way of life. To quote Fergal Casey’s film blog… “Quite often film historians will rave about the innovation or dazzling techniques employed by its director.” (Casey; WordPress; 2011) This is indeed true as Riefenstahl utilised Eisenstein’s montage technique, juxtaposing shots to create an almost brainwashing indoctrination video. By using such ‘tricks’, Riefenstahl is able to manipulate how she represents Hitler and the Nazis in order to gain the desired effect.
Pageantry and spectacles were used to win over the masses and create an image of unity and power within the NSDAP.
The use of propaganda at “the Party Rally held in Weimar on 3-4 July 1926 [demonstrated] unity behind [Hitler]. Kershaw asserts that “an estimated 7-8000, including 3600 storm troopers and 116 men, attended. [This] was the first time that the Schutzstaffell (SS, Protection Squad) had been on public display – Ian Kershaw Hitler pg 123, 172-173
Argument 3: STRENGTH. This motive of the film is inextricably linked with the presentation of Hitler and the picture of the unity of the nation. On the one hand, we see the Fuhrer, who demonstrates his unquestioning will in front of his subordinates, and the whole nation. No matter how well people know Goering, Goebbels, Hess or Lutz. Hitler stands above them all. Architects such as Albert Speer are making incredible efforts in the design of the territory of party conventions. Images of the eagle and the swastika often dominate the scene in monumental constructions and stone forms, referring the viewer to the ancient myths about heroes and history, such as the best times of the Roman Empire.
Despite the fact that at the time of the party’s congress in September 1934, the German rearmament program was only at its initial stage, the parade of the armed forces makes the viewer understand that the country will once again have unparalleled military power. Although the military criticized the work of Riefenstahl, as it seemed to them, an insufficiently heroic image of the German army, we see enough scenes that show then weak Wehrmacht in the best light. Even the parade of 52,000 Labor front soldiers symbolizes the future military force, as if their tools are not shovels, but rifles. The multi-thousand parades of the SA and SS fighters are also called upon to demonstrate the inner strength of the system, the party, and Hitler personally, to whom all these formations are faithfully loyal and devoted.
Riefenstahl’s film next shows a lengthy sequence featuring the grand finale parade, and concludes with Hitler’s speech at the closing ceremony in which he labels the Rally “a most impressive display of political power.” Hitler goes on to declare the Nazi Party “will be unchangeable in its doctrine, hard as steel in its organization, supple and adaptable in its tactics. In its entity, however, it will be like a religious order…”
For many Germans, a trip to the Nuremberg Rally was indeed a religious-like experience and they returned home with renewed dedication to the Nazi cause and increased devotion to their Führer.
- Power: “It is our will that this state shall endure for a thousand years.” — Hitler
Germany had not seen images of military power and strength since the end of World War I, and the huge formations of men would remind the audience that Germany was becoming a great power once again. Though the men carried shovels, they handled them as if they were rifles. The Eagles and Swastikas could be seen as a reference to the Roman Legions of antiquity. The large mass of well-drilled party members could be seen in a more ominous light, as a warning to anyone thinking of challenging the regime. Hitler’s arrival in an airplane should also be viewed in this context. According to Kenneth Poferl, “Flying in an airplane was a luxury known only to a select few in the 1930s, but Hitler had made himself widely associated with the practice, having been the first politician to campaign via air travel. Victory reinforced this image and defined him as the top man in the movement, by showing him as the only one to arrive in a plane and receive an individual welcome from the crowd. “Hitler’s speech to the SA also contained an implied threat: if he could have Röhm — the commander of the hundreds of thousands of troops on the screen — shot, it was only logical to assume that Hitler could get away with having anyone executed.
As a propaganda tool, the “blood flag of 1923” was also present for public eyes and “every storm trooper present swore a personal oath of loyalty to Hitler”. The significance of the blood flag was that it was present in the failed Beer Hall Putsch, which was an attempt to overthrow the government in 1923. The flag’s history included the blood of the Nazi members who had been shot by the Munich police in attempting to contain the situation. The importance of the blood flag provides the image and tone of an undefeated revolution. Goebbells used the blood flag to appeal to the masses and convey a sense of strength within the party.
The tactic of pageantry and symbolism gave the appearance of unity within the political party. Kershaw argues that as a result, “its image of unity and strength was beginning to persuade other volkisch organizations to throw in their lot with the NSDAP”. Kershaw further analyses the propaganda stunt and its effectiveness when he states that “above all, [the political party] was turning into a new type of political organization–a leader party”. The significance of becoming a leader party was that it proved to the german people that the NSDAP was a legitimate, powerful political force within Germany. – Kershaw 173.
“It would not be impossible to prove with sufficient repetition and a psychological understanding of the people concerned that a square is in fact a circle. They are mere words, and words can be molded until they clothe ideas and disguise”
Goebbels’ utilised manipulative propaganda in order to indoctrinate the german people and gain popular support for Hitler.
Goebbels utilised manipulative propaganda in order to indoctrinate the german people and gain popular support for Hitler.
Adolf Hitler believed that “by the skillful and sustained use of propaganda, one can make people see even heaven as hell or an extremely wretched life as paradise”