Analysis of Propaganda in Movies - Movie Review Example

Propaganda in movies Rationale Propaganda in movies has been a reality from the beginning of film and the propaganda film aims at convincing the viewers of a certain political point as well as influencing the opinions or behavior of people. These movies mainly influence the audience by providing consciously misleading and propagandistic content through the various techniques of film production. Some of the best illustrations of a propaganda film include Black Hawk Down (2001) by Ridley Scott, Triumph of the Will by Leni Riefenstahl, The Kingdom (2007) by Peter Berg, and Afghan Breakdown (1991) by Vladimir Bortko. In this project, I will explore the propagandistic content in these movies and how they inform to the audience. I will also analyze the techniques used in each movie to present the propagandistic content, including camera techniques, in order to determine what these propaganda movies have in common. Video Audio [Black Hawk Down]: Fade in to a shot of a film projector in a way to provide the minimum information about the events of the armed conflict in the city of Magadishu. Sound: The sound of the film best amplifies the tension built all through the movie. Narrator: Significantly, the opening text of the film does not offer the spectator a clear idea about Aidid who was a clan leader that was militarily more powerful than any of the other groups contending for the control of the city. "As a clan that is seeded deep in Somalia's past and present culture, the killing of Aidid would more likely have caused citizens of the clan's areato be angry." (Smith, et al.) Ridley Scott has been highly effective in combining severe action with excruciating and building tension all through the film, which greatly influenced the overall effect of the film as a propagandist film. Fade through the scenes that depict the people of Somalia, especially in the war-scenes. In one of the most catching scenes of the film, the director presents a long-drawn-out street battle between a small force of elite American troops and thousands of Somalian militia. Every frame of this scene captures the mind and heart of the audience and the director creates the tension in the minds of the viewers. Narrator: The street battle between a small force of American troops and thousands of Somalian militia can best be realized as a means of propagandist treatment. Here, the narrator presents the American troops as elite groups while much of the tension amplifies this awareness. The representation of the Somalis in the film attracts the viewers. The film is relevant to the people living in Western democracies for the way it depicts Somalis, the most recent refugee group to enter many of their countries in large numbers. Montage of clips from the battlefield: Through the helicopter shots in the film, especially at night, the director suggests the unfolding battle and these shots are greatly exciting to the audience. The mixture of sound effects and the helicopter shots help the audience recognize the internal component of the film as well as the intension of the director. Close-up scenes of war: All through the film, the director provides the carnage of war close up. Sound: The carnage of war close up scenes is adequately supported by the background music and sound mixing. Presbey: The viewers are able to recognize the power of shots that build up tension in the film and the minds of the viewers. "In Black Hawk Down, we see the carnage of war close up. We see people's heads and limbs blown off, reduced to quivering pulp Exposed to the carnage of the Vietnam War on their televisions, many US citizens decided the war was cruel and unjust. Government control of access to war areas and information is clearly an attempt to minimize coverage of the carnage, apparently fearing the pacifist prediction is correct." (Presbey) Therefore, the techniques used in the film suggest the propaganda elements in it. American soldiers vs. the Somalis villains: In the film, the director presents the American soldiers as 'heroes' and the various scenes in the film are merely intended for this. This is one of the clearest biases of Black Hawk Down. Narrator: Undoubtedly, these American soldiers were a very brave group for struggling to survive while the odds were stacked against them. However, "this film glorifies them in a manner that is pure Hollywood schmaltz. The soldiers are depicted as unfaltering heroes who can do no wrong-they are idealistic family men who constantly look out for one another. Any facts that may contradict this heroic image-their contribution to the Somali death toll through previous brutal attacks, for example-are conveniently omitted or glossed over." (Smith, et al.) Music: The true propagandist elements in the film become evident in a comparison of the presentation of the American soldiers and the Somalians, who are presented as 'villains'. Thus, the film the dark, throbbing techno music suggests the propagandist element in the film. "The polarized representations of Americans as 'good' create a seemingly natural need for an opposite, leaving the Somali people to fill the role of 'bad' or 'evil'. In the first appearance of Aidid's militia, harsh music blares against a sea of shadow-covered faces. The dark, throbbing techno music becomes a staple throughout the film when Aidid's men appear. (Smith, et al.) Narration through the screened words: The closing scene of the film offers an important text which informs the viewers of the gravity of the war that has taken place. The text reads: "1000 Somalis died and 19 Americans lost their lives in the conflict. Mike Durant was released after 11 days of captivity. On August 2, 1996, warlord Mohamed Farrah Aidid was killed in Mogadishu. General Garrison retired the following day." Narrator: Through the film, the narrator has been able to indicate the true nature of the war. "In less than 24 hours, 18 US soldiers and between 500-1000 Somalis had been killed, in order to abduct the two lieutenants. The President and other military officials bemoaned that the 'price' had been too high, doubtless meaning the 'high price' of 18 dead US soldiers, and not the far more numerous Somali dead." Here, the propagandist message of the film is moderately clear and the film ultimately justifies the cause of the U.S. [Triumph of the Will]: Triumph of the Will by Leni Riefenstahl has been generally recognized as a propaganda film which chronicles the 1934 Nazi Party Congress in Nuremberg and the film incorporates excerpts from the important speeches given by various Nazi leaders at the Congress. Significantly, the dominant theme of the film is the return of Germany as a great power and it presents Hitler as the True German Leader. "Designed by Nazis, for Nazis, and about Nazis, Triumph of the Will was filmed by the German Propaganda Ministry in 1934 and directed by Leni Riefenstahl The original intention was to document the early days of the NSDAP, so as future generations could look back and see how the Third Reich began. In reality, Triump des Willens shows historians how the Nazi state drew in the masses through propaganda and also how Adolf Hitler had a unique and terrifying ability to entice crowds to his beliefs by the very power of his words." (Triumph of the Will) Narrator: The speeches given by the Nazi leaders at the Nazi Party Congress, including portions of speeches by Adolf Hitler, best illustrate the propagandist elements in the film. It is also important to recognize that the Nazi chief, Hitler, himself commissioned the film and served as an unofficial executive producer. Significantly, Triumph of the Will has been celebrated as the ultimate in cinema propaganda. "This is for one essential reason: Triumph is a true documentary, completely made up of "actual" footage-the ultimate in incontrovertible credibility. The wonderful paradox here is that under any conditions but this absolute reportorial truth, the propaganda itself would be quite incredible." (Kelman, 1) The historical narrative at the beginning of the film has important function in the propagandist purpose of the film. Thus, the historical narrative tells that the events in the film happened twenty years since the start of the "World War" (indicating the World War I in 1914), sixteen years since Germany's "crucifixion" (i.e. Germany's surrender in 1918), and nineteen months after the beginning of the "German Renaissance" (Hitler becoming leader in January 1933). "Triumph of the Will is structured straightforwardly enough, in the most literal documentary narrative tradition, events proceeding according to strict chronological order, starting with Hitler's arrival in Nuremberg, continuing through processions, rallies, and speeches in the order they happened, and ending with the Fhrer's final address." (Kelman, 2) Through the historical narrative, the narrator offers a historical explanation to his treatment of the subject. The effect of sound in the beginning of the film was instrumental in conveying the narrator's message to the audience. The purpose of the propaganda is concerning the myth of resurrection of Germany to its ancient heroism through the medium of Adolf Hitler. The most fundamental element of the film is that the director has been able to fuse truth with propaganda in a convincing manner. "To fuse such truth with such propaganda, compromising neither, Riefenstahl creates a unique cinema: a cinema which transfigures "real life" while apparently recording it; which is essentially avant-garde while ostensibly conventional; which, in short, is dedicated to the creation of grand and ultimate illusion." (Kelman, 1) The historical events in the film are presented with utmost care and some music is added to get the real effect. However, Riefenstahl transfigures these events by the unobtrusive manipulation of standard cinema devices including camera set-ups and movement, editing, dissolves. An analysis of the opening shots of the film confirms that Hitler is presented as God-like descending from the Sky and the symbolic use of the stormy clouds has an important effect in this regard. "The opening shots are of stormy clouds suggesting Valhalla, the mythical world of German gods from tales of the Middle Ages. A small plane flies over out of these clouds and over the historic German city of Nuremberg with its Reformation churches. The Reformation city connects the viewer to the early formation of the German nation." (Triumph of the Will) Here, Hitler comes to the calming ordinary Germans and he is not dressed in Nazi uniform. One of the most notable techniques used by the director in this opening scene is that of camera. Thus, the camera lingering on the Reformation architecture of the old German city of Nuremberg has been used to indicate the transition from night to morning. "The opening shots of the morning blend Nazi symbols with these old buildings of German history and culture. The Nazis are being closely identified with the historic roots of the German nation in the Reformation." (Triumph of the Will) The director offers the image of a stereotypical German mother holding her baby who steps out of the crowd to shake his hand and give him flowers. Significantly, the half-profiles of Nazi troopers lined along some of the route suggest power in this scene. Similarly, carnival atmosphere at Hitler's hotel is evoked by the torch processions at night. In these frames, the most effective use of light, color, camera lingering, stereotypical images, etc can be noted. Music: Music has fundamental role in the film and the film catches the attention of the audience through the power of music. "Like the Wagnerian operas echoed in its music, Triumph of the Will begins with an overture, a prologue without visuals. Thus the audience in the cinema, sitting in the dark, alone and yet of the mass, is lulled into submission by the music. The opening titles are followed by four titles which set the Rally in its historical context and breed a sense of expectancy in the viewer" (Taylor, 164) The effective use of camera techniques especially notable. Here, the camera set-ups create two fundamental, related effects: disorientation and animation. "Disorientation is achieved by leaving some crucial aspect of "reality" out of the frame; mainly by showing only the upper parts of things and people; giving them "nothing to stand on" Animation, that is the imparting of spirit or life to matter, is achieved by close-up and angle of vision." (Kelman, 2-3) The camera set-ups creating disorientation indicate the presentation of reality 'out of frame'. Thus, the viewers see buildings [some literally castles in the air] in relation to the sky and not the earth. Through the camera set-ups, the narrator 'spiritualizes' the material events of the Rally. Animation in the camera set-ups can be best illustrated by the episode of flags parading, in which there are the merest glimpses of those bearing them. "Close-up plunges the viewer into the midst of flags that seem to move of themselves, and in longer shots the camera angle obscures any human presence. Again, "reality" becomes figurative, things move as if charged with supernatural power, with a will of their own, or more precisely, the will of Hitler." (Kelman, 3) [The Kingdom]: The Kingdom (2007) by Peter Berg is another example of propaganda film, though the director denies any such attempt. In the film, Ronald Fleury and his team face the disorienting culture shock in the foreign land. Loosely based on the FBI's investigation of the 1996 bombings of Khobar Towers in Dhahran, Saudi Arabia, the film offers some colorful illustrations of the many cultural, political and procedural rules of Saudi Law, which the FBI investigation team came across. The propagandistic elements in the movie justify the American Oil interests in Saudi Arabia. "Berg's story about Arab and American forces working together has clearly been devised to bring the two cultures together." (Fennell) Through the effective use of sound and music, the director creates the exact environment for the plot. In the opening scene of the film, an appeal to the ears of the audience is obvious. The propagandistic concerns of the film become evident to the careful observer when the film opens with a montage briefly explaining how the relationship between Saudi Arabia and the US has developed over the years. The opening scenes of the film also engross the audience into the chaos of a terrorist attack and every frame of this scene contributes to the overall effect of the film. In the opening scenes, a nasty attack in Saudi Arabia is presented and a number of Americans are shot down ruthlessly by terrorists who aim to put a huge dent in their involvement in the middle east. "There is a frightening suicide bombing as well which comes right out of the blue. Just when you think this it is all over, another big bomb goes off when sometime after the response teams arrive. The beginning of the movie thrusts you right into the chaos of a terrorist attack to where you cannot guess what will happen next." (Kenber) The movie celebrates the sound effects and other components of production when the violent attacks by the terrorists are cinematographed. [Afghan Breakdown]: Afghan Breakdown (Afganskiy Izlom), a 1991 movie directed by Vladimir Bortko and co-produced by Italy and the USSR, deals with the Soviet war in Afghanistan. The filmic techniques used in the film attract the audience and it is an illustration of propaganda film. The deep conflict of conscience of the main character of the film suggests the major themes of the film. "This is the first film to deal with the Soviet Army's Afghan campaign. The story is seen through the eyes of a paratroop major who experiences a deep conflict of conscience and finds himself unable to justify the death and destruction around him." (Afghan Breakdown) Narrator: The film focuses on portrayal of the true narratives of the war events. It is one of the best accounts of war and presents the various effects of war. "For almost a decade, the U.S.S.R. was involved in a long and apparently pointless war in Afghanistan, which began with an effort to keep a communist puppet government in power and ended with the huge Russian war machine slinking out of the primitive country in disgrace. The war may have been the straw that broke the back of the so-called 'evil empire,' as it began disbanding shortly afterwards." (Fountain) When the film starts, the Red Army has just received orders to leave Afghanistan, but negotiations for a peaceful, bloodless withdrawal are disrupted. The movie has been important illustration of how the Red Army was forced to leave Afghan after a long period. "Afghan Breakdown was the first in-depth war drama on the subject made in Russia after years of Soviet propaganda and censorship. It was also the first to talk about how pointless the 9-year occupation of Afghanistan was the traumatic experiences of the thousands of soldiers and officers, and the atrocities committed by the army. (Movies - Afghan Breakdown) Works Cited "Afghan Breakdown." Rai Trade. Dec 20. 2009. . Fennell, Marc. "The Kingdom." Reviews: film. Dec 20. 2009. . Fountain, Clarke. "Review Summary: Afghan Breakdown (1991)." All Movie Guide. New York Times. Dec 20. 2009. . Kelman, Ken. "Propaganda As Vision: Triumph of The Will." Logos Journal. 2003. P 1. Dec 20. 2009. . Kenber, Ben. "The Kingdom." Associated Content. Dec 20. 2009. . "Movies - Afghan Breakdown." Listing Index. Ebay. Dec 20. 2009. . Presbey, Gail M. "Black Hawk Down: Somali and US perspectives on the 'Day of the Rangers'." 2002. Dec 20. 2009. . Smith, Sarah et al. "Black Hawk Down: A Propaganda Case Study." Lehigh University. 2004. Dec 20. 2009. . Taylor, Richard. Film propaganda: Soviet Russia and Nazi Germany. I.B.Tauris. 1998 . p 164. "Triumph of the Will." Deutschland History. Dec 20. 2009. . Read More