• The Triumph of the will- propaganda or passionate filmmaking?
Firstly, the fact that Hitler authorized Rienfenstahl to make a film, which is the most highly developed and modern form of mass communication accessible at the time, gives the film a propagandistic connotation. The consumption of the cinematic medium sent a powerful message of how positive and constructive the government of the third Reich was, and of its eagerness to embrace the future. In Gobbels description of ideal film, he employs the term Tendez. This means, ‘a certain type of film that exhibited strong national socialist leanings.’ In other words, without completely mentioning National Socialism, this film advocated numerous themes and principles distinguishable with Nazism. Gobbel’s knew that once the audiences were aware of the propagandistic values of something they were listening to or watching, this included the newspaper and radio, eventually the impact would be diminished. However, if the message was furtively delivered when its least expected, as in an entertainment film, the messages and ideas would be more effectively integrated. Basically, even entertainment can be politically of special value, as propaganda remains as a characteristic, attitude and tendency in the background, it becomes ostensible through people and so propaganda becomes effective in every aspect. Briefly, Hitler wanted the Triumph of the will to be seen by those who would not particularly understand the propagandistic qualities of the film and those who were less interested in politics. Even though the Germans at the time were blinded by nationalism and couldn’t see the propagandistic messages in the film, Hitler wanted everyone including those who had no interest in politics to join the Nazi. ‘He wanted a film which would move, appeal to, and influence an audience which was not necessarily interested in politics.’ (Leni Riefenstahl)