That day was chosen to make public the decision to launch a preliminary investigation into claims that she had denied the Holocaust. This was for comments she made about the fate of the Gypsy extras whom she used in her second and last feature film, Tiefland The Lowlands.
An historian who supports the first perspective is Steven Bach.
He believes she knew more about Nazism than she would have liked people to believe. An historian who supports the second view is Audrey Salkeld.
According to Salkeld, Riefenstahl could not have known of the horrors that occurred under Nazism. Tiefland Tiefland is a film that Leni Riefenstahl scripted, directed, starred in, and edited. She began developing the script inand shot the movie between and The film, however, was not completed by the end of World War II and eventually was finalized and released on February 11, The film was set in Spain, and so Riefenstahl needed people who looked of Spanish decent to play extras in the film.
She cast a group of gypsies that were being held in a camp. These Gypsies were destined for Auschwitz, and many that appeared in the film were later murdered in concentration camps. It again links back to the thesis and the points of views which arise from it.
One perspective is in support of the thesis and is that Riefenstahl used the Gypsies inhumanly or immorally as she knew of their destiny, but used them anyway to create some sort of realism or authenticity to her film.
However, this is not true. In reality, of 48 Gypsies who can be documented, 20 died in Nazi concentration camps, most of them in Auschwitz to which they were transported almost directly from the film set.
The other perspective objects to the thesis and is that Riefenstahl had no choice in using the Gypsies as extras and the decision to use them was that of the SS and was out of her control. It also says that Riefenstahl did not know of their destiny.
However, no gypsy who had served as an extra was present at that time in the court and with time some started to talk. Indeed, there were few survivors; many stated that family members who had played in the film had been gassed in Auschwitz shortly after having worked with Riefenstahl.
She was hired despite opposition from Nazi officials who resented employing a woman and a non-Party member for that matter. Triumph of the Will was the other Nuremburg rally propaganda film made by Leni Riefenstahl.
It chronicles the Nazi Party Congress in Nuremberg. The film contains excerpts from speeches given by various Nazi leaders at the Congress, most notably, portions of speeches by Adolf Hitler. The central theme of the film is the return of Germany as a great power, with Hitler as the True German Leader who will bring glory to the nation.
Triumph of the Will was released in and rapidly became one of the best-known examples of propaganda in film history. The first perspective, which supports the thesis, is that Riefenstahl created the films knowing of their propaganda intent and potential.
She took advantage of the success and popularity of the Nazis at the time, and willingly and purposely created the propaganda films to further her credentials as a film maker and to make her name well known. A major piece of Nazi propaganda was the presentation of Hitler as a special kind of leader, capable of ending the depression, restoring German pride and leading the country into a great future.
His adoring fans are there to merely worship and stare in reverential awe. The other perspective that emerges, objects to the thesis, and is that the films were not made under the intentions for Nazi propaganda, but rather just brilliant documentaries with skilful camera and film techniques that inspired people.
Audrey Salkeld is in support of this view and argues that it is unfair to judge Riefenstahl through the benefit of hindsight. However, this only means that the pictures speak for themselves, and what do they say?
When Hitler became chancellor in Januaryhis initial reaction was to condemn the Olympic Games as an evil invention by Jews. The minister of propaganda and enlightenment, Josef Goebbels, however convinced and informed Hitler of the media potential, and the chance to advertise to the world the successes of the new Nazi regime.
The aim of the film was to present the essence of the Nazi message, which was the primacy of race. This view is in contrast to the thesis. Rainer Rother is one who believes that the film is not of Nazi propaganda. In rebut to the above argument, indeed the idea of the filming was to capture the beauty of the human race, and this was the prime force behind the Nazi regime.
Therefore, it makes no sense that the Nazis would give Riefenstahl 1. How to cite this page Choose cite format:Knowing the details of Leni undoubtedly proves the whole documentary was a propaganda tool.
A documentary that was unfairly filmed to strengthen Hitler socially and politically. Although most people consider Triumph of the Will to be a documentary I strongly believe that it isn't one.
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Leni Riefenstahl essaysLeni Riefenstahl's contribution to the German society and culture during the Nazi Regime was a major one. From the early years of her career as a dancer and actress in the immensly popular mountain genre (Berg) films, to her later contributions to the German media through.
Leni Riefenstahl's films gave the world the lasting images of Nazi Germany. LENI RIEFENSTAHL Biographical Essay Uploaded by magicninja on Dec 22, LENI RIEFENSTAHL German producer, director, writer, editor, and actress Leni Riefenstahl may be considered the best woman in film.
Free Essay: Leni Riefenstahl Leni Riefenstahl, a dazzling individual that has lived through and experienced many things that no other person may have.