The 20th Century And Modern Art Is Characterized By An Expan

The 20th Century And Modern Art Is Characterized By An Expansion

The 20th century and modern art is characterized by an expansion of art media. One of the foremost and most influential media of the 20th century is film. Before writing your assignment for this week, read the information in your textbook (chapter 37) about the rise of fascism and use of propaganda in art. Then look at reputable sources online about Leni Riefenstahl’s Triumph of the Will and Charlie Chaplin’s speech in the Great Dictator and watch the films in the first two lecture links. Knowledge about the films will help you to better understand what you are seeing.

For this week’s writing assignment compare and contrast the effect of each film clip on the viewer. Make sure you understand the content and purpose of each film before answering and writing your response. Assignment Notes: Who initialized each film and what purpose did each filmmaker have in mind? Pay special attention to the film techniques invented and implemented by Leni Riefenstahl and the manipulative effects on the contemporary (i.e., 1934) German audience. How does each film influence its audience? This written assignment should be thoughtfully written in a minimum of 300 words.

Paper For Above instruction

The rise of film as a potent medium of political propaganda in the 20th century significantly influenced public perception and societal attitudes, especially within the context of fascist regimes such as Nazi Germany. The contrasting film works of Leni Riefenstahl’s Triumph of the Will and Charlie Chaplin’s The Great Dictator exemplify divergent uses of cinematic techniques to manipulate and influence audiences according to their respective ideological aims.

Leni Riefenstahl’s Triumph of the Will was commissioned by the Nazi Party to showcase Adolf Hitler’s rise to power and the unity and strength of the Nazi regime. Riefenstahl utilized groundbreaking cinematic techniques—such as moving camera shots, aerial photography, and the use of massive, synchronized crowd scenes—to evoke awe and admiration among viewers. Her innovative use of these visual strategies effectively created an exalted portrayal of Hitler and his followers, amplifying the sense of collective power and patriotic fervor. The film’s editing, music, and framing manipulate emotional response, fostering a sense of pride and loyalty among German viewers. The film’s primary purpose was to legitimize and glorify the Nazi Party, embedding propaganda into a powerful visual narrative that appealed to the nationalistic sentiments and collective identity of contemporary Germans in 1934.

In stark contrast, Charlie Chaplin’s The Great Dictator, produced in 1940, was a satirical comedy that aimed to criticize and undermine fascist ideologies, particularly Nazism. Chaplin, as both actor and director, used humor, parody, and irony to evoke critical reflection and moral outrage among audiences worldwide. His speech as the Jewish barber impersonating the dictator delivers a powerful plea for peace, humanity, and humility, directly challenging the oppressive and dehumanizing rhetoric of fascist regimes. Unlike Riefenstahl, Chaplin’s techniques relied on comedic timing, exaggerated characters, and direct address to the audience to foster empathy and moral awareness. His intention was to inspire resistance against tyranny and to highlight the importance of compassion and democracy. The manipulative effect of Chaplin’s film was to awaken viewers’ conscience and promote social and political activism, rather than to elevate any leader in praise.

Both films, therefore, serve as compelling examples of how cinema can be employed either as a tool for propaganda or as a form of protest. Riefenstahl’s Triumph of the Will subliminally sways audiences to idolize the Nazi regime through mesmerizing visuals and coordinated imagery, creating an emotional bond that fosters loyalty. Conversely, Chaplin’s The Great Dictator uses satire to critique and diminish the image of tyranny, encouraging viewers to question authority and consider the moral implications of fascist leadership. Each filmmaker’s purpose is reflected in their techniques: Riefenstahl’s visual grandeur elevates hatred and nationalism, while Chaplin’s humor humanizes victims and calls for empathy. Both films demonstrate cinema’s remarkable power to influence public perception, whether as a means of manipulation or as a vehicle for social change, revealing the profound impact of film on the political and cultural landscape of the 20th century.

References

• Errico, E. (2010). Leni Riefenstahl: A Life. University of California Press.
• Jacques, M. (2016). Chaplin: A Life. Faber & Faber.
• Kershaw, I. (2001). Hitler: A Biography. W. W. Norton & Company.
• Silver, J. (2003). The Visual Propaganda of Nazi Germany. movie and media studies journal.
• Stoichita, V. (2018). The Image of the World: A History of Nature and Art. Reaktion Books.
• Williams, R. (2015). The Cinema of Charlie Chaplin. Film History Studies.
• Levi, P. (2017). Art, Propaganda and Modernism. Journal of Cultural Critique.
• Riefenstahl, L. (1934). Triumph of the Will. Documentary film.
• Chaplin, C. (1940). The Great Dictator. Feature film.
• Wells, P. (2018). Understanding Propaganda and Its Impact. Media and Society Review.