The effect film had on WWII propaganda
Without the advent of the medium of film to wage a war of propaganda both the Axis andthe Allies of World War II would have found it difficult to gather as much support fortheir causes as they did. Guns, tanks and bombs were the principal weapons of WorldWar II, but there were other, more subtle, forms of warfare as well. Words, posters, andfilms waged a constant battle for the hearts and minds of the masses of the world just assurely as military weapons engaged the enemy. Persuading the public became a wartimeindustry, almost as important as the manufacturing of bullets and planes. Both sideslaunched an aggressive propaganda campaign to galvanize public support, and some ofthese nation’s foremost intellectuals, artists, and filmmakers became warriors on that Propaganda in the broadest sense is the technique of influencing human action bythe manipulation of representations. These representations may take the spoken, written,pictorial, or musical form. Since the cinema uses all four of these types of representations,a filmmaker would seem to wield a lot of power as a propagandist. If he so choosed touse his power to its fullest potential. The essential distinction lies in the inten
Hitler’s answer to the lack of attendence was toestaiblish the extremly powerful Ministry of Propaganda, and to nationalize the filmmaking process. Incidents were manufactured and exploited tojustify German intervention, and the German war machine was depicted as invincible. Prior to all of this Hitler had to iniate the movement towards this propaganda warwaged on the silver screen. Walking in the dark shadows, telling secrets in dark corners, a very effictive way toassociate the film to its viewers. tions of thepropagandist to persuade an audience to adopt the attitude or action he or she espouses. Reaching out to the masses of the population of France was all but impossiblewith the Germans controlling the theaters and projectors. Propaganda, especially in a highly political wartime context, strives to glorify onesystem or ideology and assault the opposing views. The joint venture of the British and the French Nationalist to try to promote thesetwo films fell short by the simple fact that the German Occupied france was isolated by theGermans. Leaving asidethe cultural and historic differences between Germany and these other nations, it is clearthat increasing German film attendance is among the most important tasks of German filmpolicy, and that doinog so would increase the effectiveness of film in propaganda andpopular enligtenment. In 1944 the British Ministry’s Film Division asked AlfredHitchcock to make two French language adventrue movies designed as war propagandafilms. Der Ewige Jude was engineered by Hitlers Minister of Propaganada. The narrator tries to depict the Jew’s behavior as rat like,while showing footage of rats squirming from sewers and leaping at the camera. By 1941 Nazi propaganda films were being shown in evening shows 45,000 timesevery month in areas that are without movie theaters.
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Acceptance Essays
