Triumph Of The Will Analysis

“Triumph of the Will”’s Achievements and Effects The cinematography masterpiece created by Leni Riefenstahl was successful as propaganda not only because it was in the form of a film, which could easily spread to the masses and play to their emotions, but due to Riefenstahl’s superb cinematography. This cinematographic prowess enabled the film to successfully imprint ideas which would not have reached the viewers had it been filmed differently. Riefenstahl manipulated the camera cuts and the light in such a way that it alluded to certain messages and got the uneducated, but absorbent masses to believe the ideas about Hitler and the Nazi Party that Hitler wanted. For instance, one of the first cuts of the film is shot from inside a plane,
The film portrays Hitler as the God coming down to save Germany, looking down from the heavens on the country and the people that he is to redeem. As the film progresses, and as Hitler becomes a more prominent figure, the German flags blowing in the wind, a sign of nationalism, get replaced by Nazi flags. Instead of pride for Germany, the advancement of the Aryan race under Hitler’s command is emphasized. As the film is directed towards the Aryan race and uniting them behind Hitler, the only citizens in focus are those with pristine Aryan features, embodiments of the race and its values. Riefenstahl made Hitler seem God-like and powerful, filming him from below looking upwards, always focusing on his position above the masses, and having “Heil Hitler” lit up in the darkness. However, she focused on the masses as well— the large body of people as one entity, one loyal swarm of worshippers, insignificant as individuals- yet all indisputably Aryan. This method of filming Hitler alone and the masses as a whole emphasized to the people the message that Hitler, the deity, must be given rapt attention and fervor. Contrastingly, individuals are unimportant, only when actively part of the Aryan race as a whole can they bring greatness. Hitler is also shown as a benign leader who acknowledges everyone, regardless of age or social status, because as long as one is Aryan, they are already destined for the greatness the Nazi Party will beget. Shortly after the scene announcing Hitler’s control over the army, the camera focuses on its organization and efficiency. This prompts the viewer to acknowledge Hitler’s expansion and advancement of the already militaristic culture. Riefenstahl also films the numerous parades in a distinct way, emphasizing the gestures and ceremonial actions common to all of them. Particular emphasis is placed on