text:
The 2022 Neuroscience and Resonance Monthly Series
Sarah presents a monthly 90-minute deep-dive into the latest neuroscience research and how we might apply it to resonant healing. Each webinar is a powerful synthesis of science and practical application, offering a skills-based path for compassion, understanding and healing our brains.
Register for Series
See Monthly Topics
January 2022 – December 2022 Topics:
Re-Enchantment
As each of us lives through the wear and tear of everyday life, the world can lose its shine. We can become tired and overwhelmed with everything that is happening. How do we recover our delight, our energy, and our bounce? How do we fall in love with life again?
Join Sarah for an exploration of the phenomenon of Re-Enchantment, and how to open the door to our own willingness to be in this world and still love it.
This webinar is the January meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
Healing Imposter Syndrome
No matter how well you do, or how successful you are, do you often have a sneaking sense that something is wrong? That people don't really know you? That if they did actually know you, they wouldn't like you? Do you believe that you have somehow managed to fool the people who have a good opinion of you? If you have any of these experiences, you have touched what is called "Imposter Syndrome."
Join Sarah Peyton and Jaya Manske for an investigation of the research into this phenomenon and some resonant practices to bring you back to your sense of authenticity when you lose your sense of your own worth.
Naming, Understanding and Healing Collective Trauma
After bombings, earthquakes, tsunamis, floods, and other disasters, domestic violence rates increase by at least 50% in families for up to two years (and beyond). Collective trauma enters the bones of our families, changing childhoods, and creating imprints of stress and distress on people. Shame often follows the movement of collective trauma into family history – without any knowledge of the impact of collective trauma, people can ask themelves, "why does my family suffer from alcoholism, addiction, child abuse, or violence?" The naming of the impact of collective trauma is the first step in healing. What are the other steps that can be taken to support the healing of our families and our communities?
Join Sarah for an exploration that will take us into transgenerational understanding, compassion and movement.
This webinar is the March meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
"I have been a webinar subscriber for 6 years now and these are the BEST webinars in the industry! Sarah translates complex neuroscience concepts into interesting and relevant material, combining research-based knowledge with warmth and compassion. Highly recommended."
– Olga Nguyen, Certified Trainer with Centre for Nonviolent Communication
Our Broken Fields: Projection and What Others See
Relationships can be confusing. What is ours? What belongs to others? Why do some of our qualities come out most clearly in some relationships and not in others? What are others seeing and why are they reacting to us the way we do? What is our own responsibility to heal and what can we let go of? Neuroscience and resonance let us enter the world of our relational shadows with a bit more clarity and a lot more self-compassion.
Join Sarah to discover what relational neuroscience teaches us about this phenomenon and how to leverage our new knowledge.
This webinar is the April meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
ADHD: Understanding and Celebration
Research into ADHD and its effects, consequences, and strengths has been exploding. From implications for substance use and anxiety, sleep satisfaction and the ability to juggle multiple tasks. What are areas that need our care? And what are the areas worthy of celebration?
Join Sarah to explore the gifts of ADHD and the ways that resonance can make ADHD lives easier.
This webinar is the May meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
Finding Gentleness with OCD
Do you ever find it difficult to live with the demands your brain makes on you? Is the price for saying "no," higher than you can endure? What are the brain patterns with OCD? What parts of the brain are involved in OCD? What does research say is helpful? And what is it like to be in relationship with people with OCD?
Join Sarah to discover what kinds of resonance are most supportive for demanding brains.
This webinar is the June meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
"Working with Sarah, my body has changed from being a highly reactive one with panic attacks and anxiety into a calm, peaceful and resilient body. Through Sarah Peyton's work I have learned to listen to my witness self and give kindness to myself in times of challenge. My nervous system has changed as a result of the practices learned from Sarah Peyton. I highly recommend her!"
– Carol Lindsay
The Neuroscience of Violence
Why are some people violent and some people not? What are the precursors of violent behavior? What are the roots of violence in the brain? What neurotransmitters are involved? What is the transgenerational contribution, and what about epigenetics?
Join Sarah to discover what the research shows about behavior change, and, most importantly, what resonance can do to support change.
This webinar is the July meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
What are the aftereffects of receiving emotional, verbal, psychological, sexual or physical violence? What happens to brains when they endure long periods of time, trapped in a situation where violence is being done? How does "ordinary" PTSD differ from complex PTSD? How can we tell the difference, and how does our healing approach differ between the two? What should we look out for, and how can we distinguish the signs of healing?
Join Sarah for a dive into the origins and impacts of Complex PTSD and the pathways toward healing.
This webinar is the August meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
Warmth for Disillusionment: The Traumas of Political Disaffection
In these difficult times, it can be hard to retain our idealism. Yet, when we lose our idealism, we tend to lose our energy to create change. What can we hold on to, and hope for, in a world where our heroes are tarnished and our political parties seem to have lost their moral centers? What happens when we have warmth and resonance for our disillusionment?
Join Sarah for a 90-minute exploration and discover what resonance can do to support our resilience and changework.
This webinar is the September meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
"For as long as I can recall, I have struggled with and been ruled by my anxiety, confusion and fear. The information Sarah shares, and the way she shares it has changed me – literally. More than ever before I am able to be calm, clear headed and lovingly proactive in response to how I feel – what a relief! I feel liberated and as if I am finally able to be the self I always imagined I was, could be and am. I highly recommend exploring Sarah's work."
– Katherine Betts
Dismantling Perfectionism
How often do you find yourself falling short of your own impossibly high standards? What purpose could our perfectionism, which so often tortures us so mercilessly, possibly serve? What are the contracts that take us into the self-cruelty of never being good enough, and can we release them?
Join Sarah to explore the relational neuroscience of perfectionism and the ways that resonance can support increasing freedom and well-being.
This webinar is the October meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
Gentrification, Community and the Brain
Does the neighborhood you live in have an effect on your brain? How about your community? How do we carry our communities within us? Why do people say that gentrification is the new redlining? What are the systemic implications for our sense of home and the ways that our brains work to integrate self and world?
Join Sarah for this 90 minute exploration. Come ready to have your brain remodeled. Recommended reading: How to Kill a City by Peter Moskowitz.
This webinar is the November meeting of Sarah's 2022 Neuroscience and Resonance monthly series.
FREE: Sarah's 2022 Process Work Exploration
Every year Sarah takes the newest process that she has been exploring and brings it to the public to savor and experience along with her. We never know what will be unveiled at this annual, exciting webinar, free to the public.
Join Sarah Peyton on December 20, 2022 for an exploration and demonstration. Registration will open later in 2022.


ChiroScan static surface EMG Back Scanning Software provides graphical & audio biofeedback of muscle activity from bilateral muscle sites from the neck down the length of the spine. The visually oriented display highlights elevated muscle activation at identified spinal positions & indicates left / right differences in balance across the spine.
Spinal Innervation Charts are provided that show the Physiological systems and organs that are supplied by the nerves under the region being scanned.
The example shows both EMG level and asymmetry information in a graphic image. Comments and clinical observations may be added as desired.
Left / Right differences in bilateral readings are expressed as a percentage. The percentage value appears on the side showing the higher reading.
ChiroScan is not a medical device & administration is not intended to provide a diagnosis.


text:
Triumph of the Will
(Redirected from Triumph des Willens)
This article is about the Nazi propaganda film. For the Canadian television series, see Kenny Hotz's Triumph of the Will.
File:Triumph des Willens poster.jpg
German theatrical poster
Viktor Lutze
Other Nazi Leaders
30,000 extras
Herbert Windt
Sepp Allgeier
Franz Weihmayr
Reichsparteitag-Film
Distributed by
Universum Film AG
28 March 1935 (1935-03-28)
Triumph of the Will (German: Triumph des Willens) is a 1935 German propaganda film directed, produced, edited, and co-written by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters.[1] The film contains excerpts from speeches given by Nazi leaders at the Congress, including Adolf Hitler, Rudolf Hess, and Julius Streicher, interspersed with footage of massed Sturmabteilung and Schutzstaffel troops and public reaction. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. The film's overriding theme is the return of Germany as a great power, with Hitler as the leader who will bring glory to the nation. Because the film was made after the 1934 Night of the Long Knives (on June 30) many prominent Sturmabteilung (SA) members are absent—they were murdered in that Party purge, organized and orchestrated by Hitler to replace the SA with the Schutzstaffeln (SS) as his main paramilitary force.
Triumph of the Will was released in 1935 and became a prominent example of propaganda in film history. Riefenstahl's techniques—such as moving cameras, aerial photography, the use of long focus lenses to create a distorted perspective, and the revolutionary approach to the use of music and cinematography—have earned Triumph of the Will recognition as one of the greatest propaganda films in history. Riefenstahl helped to stage the scenes, directing and rehearsing some of them at least fifty times. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden, and other countries. The film was popular in the Third Reich, and has continued to influence movies, documentaries, and commercials to this day.[2] However, it is banned from being shown in Germany owing to its support for Nazism and its numerous portrayals of the swastika.
An earlier film by Riefenstahl—Der Sieg des Glaubens—showed Hitler and SA leader Ernst Röhm together at the 1933 Nazi party congress. After Röhm's murder, the party attempted the destruction of all copies, leaving only one known to have survived in Britain. This can be viewed at the Internet Archive. The direction and sequencing of images is almost the same as that Riefenstahl used in Triumph of the Will a year later.
Frank Capra's seven-film series Why We Fight is said to have been directly inspired by, and the United States' response to, Triumph of the Will.[citation needed]
4 Themes
4.2 Power
4.3 Unity
5 Hitler's speeches
7 Controversy
7.1 Wehrmacht objections
8 Influences and legacy
The film begins with a prologue, the only commentary in the film. It consists of the following text, shown sequentially, against a grey background:
Am 5. September 1934
[On 5 September 1934]
20 Jahre nach dem Ausbruch des Weltkrieges
[20 years after the outbreak of the World War]
16 Jahre nach dem Anfang deutschen Leidens
[16 years after the beginning of German suffering]
19 Monate nach dem Beginn der deutschen Wiedergeburt
[19 months after the beginning of the German rebirth]
flog Adolf Hitler wiederum nach Nürnberg, um Heerschau abzuhalten über seine Getreuen
[Adolf Hitler flew again to Nuremberg to review the columns of his faithful followers]
Day 1: The film opens with shots of the clouds above the city, and then moves through the clouds to float above the assembling masses below, with the intention of portraying beauty and majesty of the scene. The cruciform shadow of Hitler's plane is visible as it passes over the tiny figures marching below, accompanied by an orchestral arrangement of the Horst-Wessel-Lied. Upon arriving at the Nuremberg airport, Hitler and other Nazi leaders emerge from his plane to thunderous applause and a cheering crowd. He is then driven into Nuremberg, through equally enthusiastic people, to his hotel where a night rally is later held.
Day 2: The second day begins with images of Nuremberg at dawn, accompanied by an extract from the Act III Prelude (Wach Auf!) of Richard Wagner's Die Meistersinger von Nürnberg. Following this is a montage of the attendees preparing for the opening of the Reich Party Congress, and footage of the top Nazi officials arriving at the Luitpold Arena. The film then cuts to the opening ceremony, where Rudolf Hess announces the start of the Congress. The camera then introduces much of the Nazi hierarchy and covers their opening speeches, including Joseph Goebbels, Alfred Rosenberg, Hans Frank, Fritz Todt, Robert Ley, and Julius Streicher. Then the film cuts to an outdoor rally for the Reichsarbeitsdienst (Labor Service), which is primarily a series of pseudo-military drills by men carrying spades. This is also where Hitler gives his first speech on the merits of the Labor Service and praising them for their work in rebuilding Germany. The day then ends with a torchlight SA parade in which Viktor Lutze speaks to the crowds.
Day 3: The third day starts with a Hitler Youth rally on the parade ground. Again the camera covers the Nazi dignitaries arriving and the introduction of Hitler by Baldur von Schirach. Hitler then addresses the Youth, describing in militaristic terms how they must harden themselves and prepare for sacrifice. Everyone present, including General Werner von Blomberg, then assemble for a military pass and review, featuring Wehrmacht cavalry and various armored vehicles. That night Hitler delivers another speech to low-ranking party officials by torchlight, commemorating the first year since the Nazis took power and declaring that the party and state are one entity.
Day 4: The fourth day is the climax of the film, where the most memorable of the imagery is presented. Hitler, flanked by Heinrich Himmler and Viktor Lutze, walks through a long wide expanse with over 150,000 SA and SS troops standing at attention, to lay a wreath at a World War I Memorial. Hitler then reviews the parading SA and SS men, following which Hitler and Lutze deliver a speech where they discuss the Night of the Long Knives purge of the SA several months prior. Lutze reaffirms the SA's loyalty to the regime, and Hitler absolves the SA of any crimes committed by Ernst Röhm. New party flags are consecrated by letting them touch the Blutfahne (the same cloth flag said to have been carried by the fallen Nazis during the Beer Hall Putsch) and, following a final parade in front of the Nuremberg Frauenkirche, Hitler delivers his closing speech. In it he reaffirms the primacy of the Nazi Party in Germany, declaring, "All loyal Germans will become National Socialists. Only the best National Socialists are party comrades!" Hess then leads the assembled crowd in a final Sieg Heil salute for Hitler, marking the close of the party congress. The entire crowd sings the Horst-Wessel-Lied as the camera focuses on the giant Swastika banner, which fades into a line of silhouetted men in Nazi party uniforms, marching in formation as the lyrics "Comrades shot by the Red Front and the Reactionaries march in spirit together in our columns" are sung.
Shortly after he came to power Hitler called me to see him and explained that he wanted a film about a Party Congress, and wanted me to make it. My first reaction was to say that I did not know anything about the way such a thing worked or the organization of the Party, so that I would obviously photograph all the wrong things and please nobody - even supposing that I could make a documentary, which I had never yet done. Hitler said that this was exactly why he wanted me to do it: because anyone who knew all about the relative importance of the various people and groups and so on might make a film that would be pedantically accurate, but this was not what he wanted. He wanted a film showing the Congress through a non-expert eye, selecting just what was most artistically satisfying - in terms of spectacle, I suppose you might say. He wanted a film which would move, appeal to, impress an audience which was not necessarily interested in politics.
— Leni Riefenstahl
File:DerSiegdesGlaubens.jpg
Poster for Der Sieg des Glaubens by Leni Riefenstahl in 1933
Riefenstahl, a popular German actress, had directed her first movie called Das blaue Licht (The Blue Light) in 1932. Around the same time she first heard Hitler speak at a Nazi rally and, by her own admission, was impressed. She later began a correspondence with him that would last for years. Hitler, by turn, was equally impressed with Das blaue Licht, and in 1933 asked her to direct a film about the Nazis' annual Nuremberg Rally. The Nazis had only recently taken power amid a period of political instability (Hitler was the fourth Chancellor of Germany in less than a year) and were considered an unknown quantity by many Germans, to say nothing of the world.
In Mein Kampf,[3] Hitler talks of the success of British propaganda in World War I, believing people's ignorance meant simple repetition and an appeal to feelings over reason would suffice.[4] Hitler chose Riefenstahl as he wanted the film as "artistically satisfying"[5] as possible to appeal to a non-political audience, but he also believed that propaganda must admit no element of doubt.[3] As such, Triumph of the Will may be seen as a continuation of the unambiguous World War I-style propaganda, though heightened by the film's artistic or poetic nature.
Riefenstahl was initially reluctant, not because of any moral qualms, but because she wanted to continue making feature films.[citation needed] Hitler persisted and Riefenstahl eventually agreed to make a film at the 1933 Nuremberg Rally called Der Sieg des Glaubens (Victory of Faith). However the film had numerous technical problems, including a lack of preparation (Riefenstahl reported having just a few days) and Hitler's apparent unease at being filmed. To make matters worse, Riefenstahl had to deal with infighting by party officials, in particular Joseph Goebbels who tried to have the film released by the Propaganda Ministry. Though Der Sieg des Glaubens apparently did well at the box office, it later became a serious embarrassment to the Nazis after SA Leader Ernst Röhm, who had a prominent role in the film, was executed during the Night of the Long Knives. All references to Röhm were ordered to be erased from German history, which included the destruction of all known copies of Der Sieg des Glaubens.
In 1934, Riefenstahl had no wish to repeat the fiasco of Der Sieg des Glaubens and initially recommended fellow director Walter Ruttmann. Ruttmann's film, which would have covered the rise of the Nazi Party from 1923 to 1934 and been more overtly propagandistic (the opening text of Triumph of the Will was his), did not appeal to Hitler. He again asked Riefenstahl, who finally relented (there is still debate over how willing she was) after Hitler guaranteed his personal support and promised to keep other Nazi organizations, specifically the Propaganda Ministry, from meddling with her film.
The film follows a script similar to Der Sieg des Glaubens, which is evident when one sees both films side by side. For example, the city of Nuremberg scenes - even to the shot of a cat included in the city driving sequence in both films. Furthermore, Herbert Windt reused much of his musical score for that film in Triumph des Willens, which he also scored. Riefenstahl shot Triumph of the Will on a budget of roughly 280,000RM (approx. $110K USD 1934, $1.54M 2015).[6] With that said, there were extensive preparations facilitated by the cooperation of party members, the military, and vital help from high-ranking Nazis like Goebbels. As Susan Sontag observed, "The Rally was planned not only as a spectacular mass meeting, but as a spectacular propaganda film."[7] Albert Speer, Hitler's personal architect, designed the set in Nuremberg and did most of the coordination for the event. Pits were dug in front of the speakers' platform so Riefenstahl could get the camera angles she wanted, and tracks were laid so that her cameramen could get traveling shots of the crowd. When rough cuts weren't up to par, major party leaders and high-ranking public officials reenacted their speeches in a studio for her.[8] Riefenstahl also used a film crew that was extravagant by the standards of the day. Her crew consisted of 172 people, including 10 technical staff, 36 cameramen and assistants (operating in 16 teams with 30 cameras), nine aerial photographers, 17 newsreel men, 12 newsreel crew, 17 lighting men, two photographers, 26 drivers, 37 security personnel, four labor service workers, and two office assistants. Many of her cameramen also dressed in SA uniforms so they could blend into the crowds.
Riefenstahl had the difficult task of condensing an estimated 61 hours of film into two hours.[6] She labored to complete the film as fast as she could, going so far as to sleep in the editing room filled with hundreds of thousands of feet of film footage.[8]
Hitler congratulates Riefenstahl in 1934
Soldiers march past a saluting Hitler in Riefenstahl's film of the 1934 Nazi party rally in Nuremberg
This morning's opening meeting... was more than a gorgeous show, it also had something of the mysticism and religious fervor of an Easter or Christmas Mass in a great Gothic cathedral.
— Reporter William Shirer
Triumph of the Will is sometimes seen as an example of Nazi political religion. The primary religion in Germany before the Second World War was Christianity. With the primary sects being Roman Catholic and Protestant, the Christian views in this movie are clearly meant to allow the movie to better connect with the intended audience.
Religion is a major theme in Triumph of the Will. The film opens with Hitler descending god-like out of the skies past twin cathedral spires. It contains many scenes of church bells ringing, and individuals in a state of near-religious fervor, as well as a prominent shot of Reich Protestant Bishop Ludwig Müller standing in his vestments among high-ranking Nazis. It is probably not a coincidence that the final parade of the film was held in front of the Nuremberg Frauenkirche. In his final speech in the film, Hitler also directly compares the Nazi party to a holy order, and the consecration of new party flags by having Hitler touch them to the "blood banner" has obvious religious overtones. Hitler himself is portrayed in a messianic manner, from the opening where he descends from the clouds in a plane, to his drive through Nuremberg where even a cat stops what it is doing to watch him, to the many scenes where the camera films from below and looks up at him: Hitler, standing on his podium, will issue a command to hundreds of thousands of followers. The audience happily complies in unison.[9] As Frank P. Tomasulo comments, "Hitler is cast as a veritable German Messiah who will save the nation, if only the citizenry will put its destiny in his hands."[10]
It is our will that this state and this Reich shall endure through the coming millennia.
— Hitler
Germany had not seen images of military power and strength since the end of World War I, and the huge formations of men would remind the audience that Germany was becoming a great power once again. Though the Labor Service men carried spades, they handled them as if they were rifles. The Eagles and Swastikas could be seen as a reference to the Roman Legions of antiquity. The large mass of well-drilled party members could be seen in a more ominous light, as a warning to dissidents thinking of challenging the regime.
Hitler's arrival in an airplane should also be viewed in this context. According to Kenneth Poferl, "Flying in an airplane was a luxury known only to a select few in the 1930s, but Hitler had made himself widely associated with the practice, having been the first politician to campaign via air travel. Victory reinforced this image and defined him as the top man in the movement, by showing him as the only one to arrive in a plane and receive an individual welcome from the crowd. Hitler's speech to the SA also contained an implied threat: if he could have Röhm, the commander of the hundreds of thousands of troops on the screen, shot, it was only logical to assume that Hitler could get away with having anyone executed."
As soon as our own propaganda admits so much as a glimmer of right on the other side, the foundation for doubt in our own right has been laid.
It was very important to Adolf Hitler that his propaganda messages carry a unified theme. If a country isn't unified in saying the enemy is bad, the audience starts to have doubts. Unity is seen throughout this film, even in the camps where soldiers live. The camp outside of Nuremberg is very uniform and clean; the tents are aligned in perfect rows, each one the same as the next. The men there also make a point not to wear their shirts, because their shirts display their rankings and status. Shirtless they are all equals, unified. When they march, it is in unison and they all carry their weapons identically, one to another.
Hitler's message to the workers also includes the notion of unity:
The concept of labor will no longer be a dividing one but a uniting one, and no longer will there be anybody in Germany who will regard manual labor any less highly than any other form of labor.
Children were also used to convey unity:
We want to be a united nation, and you, my youth, are to become this nation. In the future, we do not wish to see classes and cliques, and you must not allow them to develop among you. One day, we want to see one nation.
Triumph of the Will has many scenes that blur the distinction between the Nazi Party, the German state, and the German people. Germans in peasant farmers' costumes and other traditional clothing greet Hitler in some scenes. The torchlight processions, though now associated by many with the Nazis, would remind the viewer of the medieval Karneval celebration. The old flag of Imperial Germany is also shown several times flying alongside the Swastika, and there is a ceremony where Hitler pays his respects to soldiers who died in World War I (as well as to President Paul von Hindenburg, who had died a month before the convention). There is also a scene where the Labor Servicemen individually call out which town or area in Germany they are from, reminding the viewers that the Nazi Party had expanded from its stronghold in Bavaria to become a pan-German movement.
The Party is Hitler - and Hitler is Germany just as Germany is Hitler!
— Rudolf Hess
Hitler's speeches
Among the themes presented, the desire for pride in Germany and the purification of the German people is well exemplified through the speeches and ideals of the Third Reich in Triumph of the Will.
The Totenehrung (honouring of dead) at the 1934 Nuremberg Rally. SS leader Heinrich Himmler, Adolf Hitler, and SA leader Viktor Lutze (from L to R) on the stone terrace in front of the Ehrenhalle (Hall of Honour) in the Luitpoldarena. In the background is the crescent-shaped Ehrentribüne (literally: tribune of honour).
In every speech given and shown in Triumph of the Will, pride is one of the major focuses. Hitler advocates to the people that they should not be satisfied with their current state and they should not be satisfied with the descent from power and greatness Germany has endured since World War I. The German people should believe in themselves and the movement that is occurring in Germany. Hitler promotes pride in Germany through the unification of it. Unifying Germany would force the elimination of what does not amount to the standards of the Nazi regime.
To unify Germany, Hitler believes purification would have to take place. This meant not only eliminating the citizens of Germany who are not of the Aryan race, but the sick, weak, handicapped, or any other citizens deemed unhealthy or impure. In Triumph of the Will, Hitler preaches to the people that Germany must take a look at itself and seek out that which does not belong: "[T]he elements that have become bad, and therefore do not belong with us!" Though within the context, he seems to be referring to the corrupt elements of the power structure, it later could seem in hindsight to imply that the elimination of the "inferior" people of Germany would, in theory, return Germany to its once prideful and powerful former self. Julius Streicher stresses the importance of purification in his speech, a direct reference to his own virulent anti-semitism. Hundreds of thousands mentally sick and disabled would be murdered in the Action T4, a programme run directly from Hitler's Chancellery (Kanzlei des Führers).
Hitler preaches to the people in his speeches that they should believe in their country and themselves. The German people are better than what they have become because of the impurities in society. Hitler wants them to believe in him and believe what he wants to do for his people, and what he is doing is for the country's and people's benefit. Hess says in the last scene of Triumph of the Will, "Heil Hitler, hail victory, hail victory!" Everyone in attendance yells in support. This verbal sign represents their faith to their leader and his most trusted advisors that they believe in the Nazi cause. This is directly following Hitler's yell, "Long live the National Socialist Movement! Long live Germany!" and the crowd erupts with cheering and the fulfillment of pride for themselves and their political party.
In the closing speech of Triumph of the Will, Hitler enters the room from the back, appearing to emerge from the people. After a one sentence introduction, he tells his faithful Nazis how the German nation has subordinated itself to the Nazi Party because its leaders are mostly of Germans. He promises that the new state that the Nazis have created will endure for thousands of years. Hitler says that the youth will carry on after the old have weakened. They close with a chant, "Hitler is the Party, Hitler." The camera focuses on the large Swastika above Hitler and the film ends with the images of this Swastika imposed on Nazis marching in a few columns. His speech brought attention to the rally and created a huge turnout in the following years. He attracted many people in the way that he addressed the issues and his people. He spoke to them as if it were a sermon and engaged the people. In 1934, over a million Germans participated in the Nuremberg Rally.
Triumph of the Will premiered on 28 March 1935 at the Berlin Ufa Palace Theater and was an instant success. Within two months the film had earned 815,000 Reichsmark, and Ufa considered it one of the three most profitable films of that year. Hitler praised the film as being an "incomparable glorification of the power and beauty of our Movement." For her efforts, Riefenstahl was rewarded with the German Film Prize (Deutscher Filmpreis), a gold medal at the 1935 Venice Biennale, and the Grand Prix at the 1937 World Exhibition in Paris. However, there were few claims that the film would result in a mass influx of "converts" to fascism and the Nazis apparently did not make a serious effort to promote the film outside of Germany. Film historian Richard Taylor also said that Triumph of the Will was not generally used for propaganda purposes inside the Third Reich. The Independent wrote in 2003: "Triumph of the Will seduced many wise men and women, persuaded them to admire rather than to despise, and undoubtedly won the Nazis friends and allies all over the world."[11]
The reception in other countries was not always as enthusiastic. British documentarian Paul Rotha called it tedious, while others were repelled by its pro-Nazi sentiments. During World War II, Frank Capra helped to create a direct response, through the film series called Why We Fight, a series of newsreels commissioned by the United States government that spliced in footage from Triumph of the Will, but recontextualized it so that it promoted the cause of the Allies instead. Capra later remarked that Triumph of the Will "fired no gun, dropped no bombs. But as a psychological weapon aimed at destroying the will to resist, it was just as lethal."[12] Clips from Triumph of the Will were also used in an Allied propaganda short called General Adolph Takes Over,[13] set to the British dance tune "The Lambeth Walk". The legions of marching soldiers, as well as Hitler giving his Nazi salute, were made to look like wind-up dolls, dancing to the music. The Danish resistance used to take over cinemas and force the projectionist to show Swinging the Lambeth Walk (as it was also known); Erik Barrow has said: "The extraordinary risks were apparently felt justified by a moment of savage anti-Hitler ridicule."[14] Also during World War II, the poet Dylan Thomas wrote a screenplay for and narrated These Are The Men, a propaganda piece using Triumph of the Will footage to discredit Nazi leadership.
One of the best ways to gauge the response to Triumph of the Will was the instant and lasting international fame it gave Riefenstahl. The Economist said it "sealed her reputation as the greatest female filmmaker of the 20th century."[15] For a director who made eight films, only two of which received significant coverage outside of Germany, Riefenstahl had unusually high name recognition for the remainder of her life, most of it stemming from Triumph of the Will. However, her career was also permanently damaged by this association. After the war, Riefenstahl was imprisoned by the Allies for four years for allegedly being a Nazi sympathizer and was permanently blacklisted by the film industry. When she died in 2003–68 years after the film's premiere—her obituary received significant coverage in many major publications, including the Associated Press,[16] The Wall Street Journal,[17] The New York Times,[18] and The Guardian,[19] most of which reaffirmed the importance of Triumph of the Will. Though the actual effectiveness of Triumph of the Will is hard to measure in terms of numbers or statistics that actually state its effectiveness, its response from the people is well documented with the amount of views and the popularity of the movie during the time period.
File:Julius Streicher 72-920 crop.jpg
Julius Streicher in custody in 1945
Like American filmmaker D. W. Griffith's The Birth of a Nation, Triumph of the Will has been criticized as a use of spectacular filmmaking to promote a profoundly unethical system. In her defense, Riefenstahl claimed that she was naïve about the Nazis when she made it and had no knowledge of Hitler's genocidal or anti-semitic policies. She also pointed out that Triumph of the Will contains "not one single antisemitic word", although it does contain a veiled comment by Julius Streicher, the notorious Jew-baiter (who was hanged after the Nuremberg trials), that "a people that does not protect its racial purity will perish."
However, Roger Ebert has observed that for some, "the very absence of anti-semitism in Triumph of the Will looks like a calculation; excluding the central motif of almost all of Hitler's public speeches must have been a deliberate decision to make the film more efficient as propaganda."[20]
Riefenstahl also repeatedly defended herself against the charge that she was a Nazi propagandist, saying that Triumph of the Will focuses on images over ideas, and should therefore be viewed as a Gesamtkunstwerk (holistic work of art).[citation needed] In 1964, she returned to this topic, saying:
If you see this film again today you ascertain that it doesn't contain a single reconstructed scene. Everything in it is true. And it contains no tendentious commentary at all. It is history. A pure historical film... it is film-vérité. It reflects the truth that was then in 1934, history. It is therefore a documentary. Not a propaganda film. Oh! I know very well what propaganda is. That consists of recreating events in order to illustrate a thesis, or, in the face of certain events, to let one thing go in order to accentuate another. I found myself, me, at the heart of an event which was the reality of a certain time and a certain place. My film is composed of what stemmed from that.[21]
However, Riefenstahl was an active participant in the rally, though in later years she downplayed her influence significantly, claiming, "I just observed and tried to film it well. The idea that I helped to plan it is downright absurd." Ebert states that Triumph of the Will is "by general consent [one] of the best documentaries ever made", but added that because it reflects the ideology of a movement regarded by many as evil, it poses "a classic question of the contest between art and morality: Is there such a thing as pure art, or does all art make a political statement?"[20] When reviewing the film for his "Great Movies" collection, Ebert reversed his opinion, characterizing his earlier conclusion as "the received opinion that the film is great but evil" and calling it "a terrible film, paralyzingly dull, simpleminded, overlong and not even 'manipulative,' because it is too clumsy to manipulate anyone but a true believer."[22]
Susan Sontag considers Triumph of the Will the "most successful, most purely propagandistic film ever made, whose very conception negates the possibility of the filmmaker's having an aesthetic or visual conception independent of propaganda." Sontag points to Riefenstahl's involvement in the planning and design of the Nuremberg ceremonies as evidence that Riefenstahl was working as a propagandist, rather than as an artist in any sense of the word. With some 30 cameras and a crew of 150, the marches, parades, speeches, and processions were orchestrated like a movie set for Riefenstahl's film. Further, this was not the first political film made by Riefenstahl for the Third Reich (there was Victory of Faith, 1933), nor was it the last (Day of Freedom, 1935, and Olympia, 1938). "Anyone who defends Riefenstahl's films as documentary", Sontag states, "if documentary is to be distinguished from propaganda, is being disingenuous. In Triumph of Will, the document (the image) is no longer simply the record of reality; 'reality' has been constructed to serve the image."[7]
Brian Winston's essay on the film in The Movies as History is largely a critique of Sontag's analysis. Winston argues that any filmmaker could have made the film look impressive because the Nazis' mise en scène was impressive, particularly when they were offering it for camera re-stagings. In form, the film alternates repetitively between marches and speeches. Winston asks the viewers to consider if such a film should be seen as anything more than a pedestrian effort. Like Rotha, he finds the film tedious, and believes anyone who takes the time to analyze its structure will quickly agree.
Wehrmacht objections
The first controversy over Triumph of the Will occurred even before its release, when several generals in the Wehrmacht protested over the minimal army presence in the film. Only one scene—the review of the German cavalry—actually involved the German military. The other formations were party organizations that were not part of the military.
The opposition of the generals, was not simply out of personalized pique or vanity. As produced by Riefenstahl, Triumph of the Will, posits Germany as a leaderless mass of lost souls without any organizing institutions, or antecedent institutional leaders. And that the "new order" embodied by the Nazi Party and Hitler, provides a both new, and a singular/saving leader and institutional framework for the whole of the German nation.
However, the Army had been, and had seen itself as being, an institution that held shared responsibility for the leadership of the nation and state since at least the time of Fredrick the Great. The leaders of that Army had also been viewed throughout the history of the German speaking peoples as an integral part of the leadership cadre. By omitting the Army (along with other institutions, e.g., the nobility, the Church, academia, business), the film demonstrated that the Army, as well as its leaders, was "disappeared" from what the Army considered to be its shared leadership role in the state, National Socialist or otherwise. The Army's leaders vehemently disagreed with this implied assertion of the film.
Hitler proposed his own "artistic" compromise where Triumph of the Will would open with a camera slowly tracking down a row of all the "overlooked" generals (and placate each general's ego). According to her own testimony, Riefenstahl refused his suggestion and insisted on keeping artistic control over Triumph of the Will. She did agree to return to the 1935 rally to make a film exclusively about the Wehrmacht, which became Tag der Freiheit: Unsere Wehrmacht (Day of Freedom: Our Armed Forces).
Influences and legacy
Charles Chaplin as Adenoid Hynkel in The Great Dictator
Triumph of the Will remains well known for its striking visuals. As one historian notes, "many of the most enduring images of the [Nazi] regime and its leader derive from Riefenstahl's film."[23]
Extensive excerpts of the film were used in Erwin Leiser's documentary Mein Kampf, produced in Sweden in 1960. Riefenstahl unsuccessfully sued the Swedish production company Minerva-Film for copyright violation, although she did receive forty thousand marks in compensation from German and Austrian distributors of the film.[24]
In 1942, Charles A. Ridley of the British Ministry of Information made a short propaganda film, Lambeth Walk – Nazi Style, which edited footage of Hitler and German soldiers from the film to make it appear they were marching and dancing to the song "The Lambeth Walk".[note 1] The film so enraged Joseph Goebbels that reportedly he ran out of the screening room kicking chairs and screaming profanities. The propaganda film was distributed uncredited to newsreel companies, who would supply their own narration.[citation needed]
Charlie Chaplin's classic satire The Great Dictator (1940) was inspired in large part by Triumph of the Will.[25] The film has been studied by many contemporary artists, including film directors Sir Peter Jackson, George Lucas and Ridley Scott.
List of German films 1933-1945
Nazism and cinema
You Nazty Spy!
↑ Barsam, Richard M (1975). Filmguide to Triumph of the Will. Bloomington, IN: Indiana University Press. p. 21. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Hinton, David B. (1975). "Triumph of the Will: Document or Artifice?". Cinema Journal. University of Texas Press. 15 (1): 48–57. doi:10.2307/1225104. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 3.0 3.1 Hitler, Adolph (2000). "War Propaganda". In Marwick, A; Simpson, W (eds.). Primary Sources 2: Interwar and World War II. Milton Keynes, The Open University. pp. 79–82. ISBN 0-7492-8559-1. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Kula, S (1985). "Theatres of War:Propaganda 1918-45". Archivaria. 20: 172. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Starkman, R (1998). "Mother of All Spectacles: Ray Müller's "The Wonderful, Horrible Life of Leni Riefenstahl"". Film Quarterly. University of California. 51 (2 Winter, 1997–1998): 23. doi:10.2307/3697138. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>(subscription required)
↑ Barsam, Richard. "Filmguide to Triumph of the Will" (PDF). Retrieved 28 February 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 7.0 7.1 Sontag, Susan (6 February 1975). "Fascinating Fascism". The New York Review of Books. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Berenbaum, Michael (2007). The World Must Know: The History of the Holocaust as Told in the United States Holocaust Memorial Museum. Washington, D.C.: United States Holocaust Memorial Museum. pp. 24–25. ISBN 0-316-09134-0. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Carl Rollyson (7 March 2007). "Leni Riefenstahl on Trial". The New York Sun. Retrieved 2 November 2008. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Tomasulo, Frank P. "The Mass Psychology of Fascist Cinema: Leni Riefenstahl's Triumph of the Will". In Grant, Barry Keith; Sloniowski, Jeannette (eds.). Documenting the Documentary: Close Readings of Documentary Film and Video. Wayne State University Press. p. 104. ISBN 9780814326398. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Williams, Val (10 September 2003). "Leni Riefenstahl". The Independent. pp. XX. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Capra, Frank (1977). The Name above the Title: An Autobiography. Da Capo Press. p. 328. ISBN 0-306-80771-8. Retrieved 6 May 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ London's New Version of the Lambeth Walk : Performed by the Nazi Ballet Without the Permission of A Hitler. YouTube. Retrieved 6 May 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Barrow, Erik (1993). Documentary: A History of Non-fiction Films. Oxford: Oxford University Press. p. 151. ISBN 0-19-507898-5. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Leni Riefenstahl: Hand-held history". The Economist. 11 September 2003. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Rising, David (9 September 2003). "Hitler's filmmaker Leni Riefenstahl, revered and reviled for her work, dies at 101". Associated Press. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Petropolous, Jonathan (11 September 2003). "Leni Riefenstahl, Coy Propagandist of the Nazi Era". Wall Street Journal. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Riding, Alan (9 September 2003). "Leni Riefenstahl, Filmmaker and Nazi Propagandist, Dies at 101". New York Times. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Harding, Luke (10 September 2003). "Leni Riefenstahl, Hitler's favourite film propagandist, dies at 101". The Guardian. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 20.0 20.1 Ebert, Roger (24 June 1994). "The Wonderful Horrible Life of Leni Riefenstahl". Chicago Sun-Times. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Thomson, David (2010). The New Biographical Dictionary of Film, Fifth Edition. New York: Knopf. p. 822. ISBN 978-0-307-27174-7. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Ebert, Roger (26 June 2008). "Triumph of the Will (1935)". Chicago Sun-Times. Archived from the original on 4 May 2011. Retrieved 12 September 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Reeves, Nicholas (2003) [1999]. The Power of Film Propaganda: Myth or Reality?. London; New York: Continuum. p. 107. ISBN 0-82647-390-3. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Trimborn, Jürgen (2007). Leni Riefenstahl: A Life. New York: Faber and Faber. p. 240. ISBN 9780374184933. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Trimborn, pp. 123–124.
Cheshire, Ellen (2000). "Leni Riefenstahl: Documentary Film-Maker Or Propagandist?". Kamera. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Kershaw, Ian (1987). The Hitler Myth. Oxford, NY: Oxford University Press. pp. 48–49. ISBN 0-19-821964-4. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Shirer, William. Berlin Diary: The Journal of a Foreign Correspondent 1934-1941. New York, Alfred A. Knopf, 1941. Includes a contemporary account of the 1934 Nuremberg rally.
Smith, David Calvert (1990). Triumph of the Will: A Film by Leni Riefenstahl. Richardson, TX: Celluloid Chronicles Press. Archived from the original on 20 February 2002. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> (Complete Screenplay)
Welch, David (1993). The Third Reich Politics and Propaganda. New Fetter Lane, London: Routledge. pp. 65–72. ISBN 0-415-09033-4. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ See § External links for video
Wikiquote has quotations related to: Triumph of the Will
Triumph of the Will on IMDb
Das Blaue Licht: The Art of Leni Riefenstahl, an unofficial biographical website endorsed by the Riefenstahl Estate
Triumph of the Will Screenplay by Leni Riefenstahl at DasBlaueLicht.net
Hinter den Kulissen des Reichsparteitag-Films, Riefenstahl's 1935 book on the making of the film with many photographs (German)
Triumph of the Will, available for download at Internet Archive
"Lambeth Walk" - video of the Lambeth Walk British propaganda spoof on YouTube
Films and books by Leni Riefenstahl
Films directed
The Blue Light (1932)
Der Sieg des Glaubens (1933)
Triumph of the Will (1935)
Tag der Freiheit: Unsere Wehrmacht (1935)
Tiefland (1954)
Impressionen unter Wasser (2002)
Africa-related books
The Last of the Nuba (1973)
The People of Kau (1976)
Vanishing Africa (1982)
Marine-related books
Coral Gardens (1978)
Wonder under Water (1990)
Leni Riefenstahl's Memoiren (1987)
Core tenets
One-party state
Social interventionism
Proletarian nation
Economic interventionism
Anti-communism
Fascism and ideology
Fascism worldwide
Actual Idealism
Class collaboration
Corporatism
Heroic capitalism
National syndicalism
State capitalism
Supercapitalism
Third Position
Falangism
Metaxism
National Radicalism
Rexism
Legionarism
Greyshirts
Ossewabrandwag
Brit HaBirionim
Ganap Party
Sakurakai
Tōhōkai
Northern / Northwestern Europe
Black Front (Netherlands)
Blueshirts
Breton Social-National Workers' Movement
British Fascists
British People's Party (1939)
British Union of Fascists
Clerical People's Party
Flemish National Union
French Popular Party
General Dutch Fascist League
Imperial Fascist League
Lapua Movement
Nasjonal Samling
National Corporate Party (Greenshirts)
National Fascisti
Nationalist Party (Iceland)
National Socialist Bloc
National Socialist Dutch Workers Party
National Socialist League
National Socialist Movement in the Netherlands
National Socialist Movement of Norway
National Socialist Workers' Party (Sweden)
New Party (UK)
Patriotic People's Movement (Finland)
Pērkonkrusts
Arrow Cross Party
Austrian National Socialism
Fatherland Front (Austria)
Hungarian National Socialist Party
National Front (Switzerland)
Sudeten German Party
Albanian Fascist Party
Democratic Fascist Party
Falange
Greek National Socialist Party
Italian Fascism
Italian Social Republic
National Fascist Party
National Union (Portugal)
Republican Fascist Party
Sammarinese Fascist Party
Ustaše
Eastern and Southeastern Europe
Bulgarian National Socialist Workers Party
Crusade of Romanianism
National Fascist Community
National Fascist Movement
National Italo-Romanian Cultural and Economic Movement
National Social Movement (Bulgaria)
National Radical Camp Falanga
National Romanian Fascio
National Renaissance Front
Ratniks (Bulgaria)
Romanian Front
Russian Fascist Party
Russian Women's Fascist Movement
Slovak People's Party
Union of Bulgarian National Legions
Fascism in Canada
Canadian Union of Fascists
Parti national social chrétien
Gold shirts
German American Bund
Silver Legion of America
Falangism in Latin America
Brazilian Integralism
Bolivian Socialist Falange
National Socialist Movement of Chile
Revolutionary Union
Abba Ahimeir
Nimio de Anquín
Sadao Araki
Marc Augier
Maurice Bardèche
Jacques Benoist-Méchin
Henri Béraud
Zoltán Böszörmény
Giuseppe Bottai
Robert Brasillach
Alphonse de Châteaubriant
Corneliu Zelea Codreanu
Gustavs Celmiņš
Enrico Corradini
Carlo Costamagna
Richard Walther Darré
Marcel Déat
Léon Degrelle
Gottfried Feder
Hans F. K. Günther
Fumimaro Konoe
Ikki Kita
Vihtori Kosola
Agostino Lanzillo
Dimitrije Ljotić
Leopoldo Lugones
Robert Michels
Oswald Mosley
Eoin O'Duffy
Gearóid Ó Cuinneagáin
Sergio Panunzio
Ante Pavelić
William Dudley Pelley
Alfred Ploetz
Robert Poulet
Vidkun Quisling
José Antonio Primo de Rivera
Dionisio Ridruejo
Alfredo Rocco
Konstantin Rodzaevsky
Rafael Sánchez Mazas
Margherita Sarfatti
Othmar Spann
Ugo Spirito
Ferenc Szálasi
Georges Valois
Anastasy Vonsyatsky
The Doctrine of Fascism
Fascist Manifesto
Manifesto of the Fascist Intellectuals
The Myth of the Twentieth Century
Zweites Buch
Zaveshchanie russkogo fashista
La Conquista del Estado
Der Angriff
Deutsche Allgemeine Zeitung
Deutsche Zeitung in Norwegen
Deutsche Zeitung in den Niederlanden
Figli d'Italia
Gândirea
Gioventù Fascista
Je suis partout
La France au travail
Münchener Beobachter
Novopress
NS Månedshefte
Norsk-Tysk Tidsskrift
Das Schwarze Korps
Il Popolo d'Italia
Sfarmă-Piatră
Völkischer Beobachter
Nash Put'
Fashist
Der Sieg des Glaubens
Tag der Freiheit: Unsere Wehrmacht
Art of the Third Reich
Fascist architecture
Heroic realism
Nazi architecture
Nazi plunder
Chamber of Fasci and Corporations
Grand Council of Fascism
Imperial Way Faction
Italian Nationalist Association
Nationalsozialistischer Reichsbund für Leibesübungen
Quadrumvirs
Fascist Union of Youth
National Youth Organisation (Greece)
Russian Fascist Organization
Union of Fascist Little Ones
Union of Young Fascists – Vanguard (boys)
Union of Young Fascists – Vanguard (girls)
Albanian Militia
Black Brigades
Blackshirts
Greenshirts
Heimwehr
Iron Wolf (organization)
Lăncieri
Makapili
Sturmabteilung
NSDAP/AO
Fascio
Aventine Secession
Acerbo Law
March on Rome
Italian economic battles
March of the Iron Will
German federal election, November 1932
German federal election, March 1933
6 February 1934 crisis
1934 Montreux Fascist conference
4th of August Regime
Anti-Comintern Pact
Anti-fascists
Books about Hitler
British fascist parties
Fascist movements by country (A-F
U-Z)
Nazi ideologues
Nazi leaders
Speeches by Hitler
SS personnel
Anti-Nazi League
Christofascism
Clerical fascism
Cryptofascism
Ecofascism
Esoteric Nazism
Fascist (epithet)
Fascist mysticism
Germanisation
Glossary of Nazi Germany
Hitler salute
Italianization
Italianization of South Tyrol
Islamofascism
Japanization
Neo-fascism
Neo-Nazism
Roman salute
Social fascism
Synarchism
Unite Against Fascism
Völkisch movement
Women in Nazi Germany
Political directives
Rise to power
Hitler Cabinet
Führer Headquarters
Brown House
Berghof (Kehlsteinhaus)
Reich Chancellery
Wolf's Lair
Private train
Wolfsschlucht I
Wolfsschlucht II
Anlage Süd
Felsennest
Civilian residences
Vienna (Meldemannstraße dormitory)
Munich (16 Prinzregentenplatz)
Wealth and income
Stefanie Rabatsch
Psychopathography
Hitler's Table Talk
Hitler's Globe
Personal standard
Private library
In popular culture
Hitler: The Last Ten Days
The Meaning of Hitler
Hitler "Diaries"
Hitler: The Rise of Evil
Eva Braun (wife)
Alois Hitler (father)
Klara Hitler (mother)
Angela Hitler (half-sister)
Paula Hitler (sister)
Leo Rudolf Raubal, Jr. (half-nephew)
Geli Raubal (half-niece)
William Patrick Hitler (half-nephew)
Heinz Hitler (half-nephew)
Pets: Blondi (dog)
Conspiracy theories about Hitler's death
Streets named after Hitler
Retrieved from "https://infogalactic.com/w/index.php?title=Triumph_of_the_Will&oldid=19683"
Pages containing links to subscription-only content
German-language films
Articles with German-language external links
1930s documentary films
1930s historical films
1930s war films
German black-and-white films
German documentary films
German historical films
German war films
Films directed by Leni Riefenstahl
Films of Nazi Germany
Films shot in Bavaria
Nazi propaganda films
Nuremberg Rally films
Works about Adolf Hitler

redpajama_set_name: RedPajamaCommonCrawl