Considering that Realpolitik focused on preventing a war within Europe and Weltpolitik aggressively asserted German dominance, it can be validly argued that this direct change in German foreign policy played a major role in bringing about the First World War. Another reason that German foreign policy was so greatly scrutinized was because of the Anglo-German naval rivalry which was creating tension within Europe. As long as Germany built, Britain would be a German enemy. The German government dramatically increased the development of German Ships. [i] This arms race and change in German foreign policy, believing they needed to control the seas was seen as a definite and direct cause
Riefenstahl's Triumph of the Will: A Work of Art Leni Riefenstahl’s Nazi documentary, Triumph of the Will, however technically dazzling and artfully made, contradicts the sinister and inhumane actions of the Nazi regime the film celebrates. This propaganda film commissioned by Adolf Hitler, documents a 1934 Nazi Rally in Nuremberg, Germany. The film inventively presents the rally’s grandeur, swastika banners waving gaily, thousands of German people eager to see and hear Hitler’s address. Under Hitler’s authorization and Riefenstahl’s direction this film glorified and mysticized the Nazi party. The film was used to legitimize the Third Reich, thus gaining support for action by the German people.
It was part of the wider Neue Sachlichkeit movement, which incorporated various art forms to capture and portray the mood of the German public in the post-World-War I period. One must note that the content of the film, and indeed, the question of authority, is influenced by Murnau and Carl Mayer’s perception of civilisation under the rule of the Weimar Republic. They were themselves German citizens. One must bear this in mind when extracting wider meanings from the film, because Der Letzte Mann is a Kammerspiel film, albeit with expressionist elements. It is important to define authority so that it can be easy to place in the context of the film.
More recent schools of thought such as that expressed by Linda Schulte-Sasse3 suggest that filmmakers including Riefenstahl were indeed propagandists, but that this is justifiable in context, therefore that they also ought to be praised for their contribution to culture. The popular school of thought suggests that those viewing Riefenstahl’s films as masterpieces are viewing them “in a vacuum”, without any reference to the context of the time. In Triumph des Willens, for example, Hitler, it is suggested, is deified. Seemingly endless marching scenes are said to glorify the militarisation (against the Treaty of Versailles) of Germany. The content of one of the speeches can be seen to
Furthermore, the intricate system of alliances spawned during this era meant diplomacy became an impossible task that only the most expert politicians could manoeuvre. Despite the factors that could contradict the popular belief that it was Germany and it's unification that caused the First World War, the contrast of Bismarck's expert leadership with Wilhelm II's youthful and naive approach is also a huge factor, incorporated with this school of thought is the idea that the growth of Militarism, especially in Germany, made the idea of war vogue. This study will attempt to provide an alternate view point on the issue. In 1871, Otto Von Bismarck amalgamated the German States through subtle diplomacy and a series of military victories. However, the nature of their victory incited bitter indignation from the French and unsettled the European balance of power.
We see in addition to this that meaning is not only lost but changed, such as how we view the characters and the impact of their actions due to the variations in the Prologue. Through the loss of informative signs, and overstressed allegories between characters – rather than circumstances – the focal point of the play is also transformed. This results in the film focusing more on Hitler himself, rather than his rise and thus changes the meaning of the play. Technology does however enable Gold to emphasis certain Brechtian tactics in ways the theatre could never have done, adding to and appropriately emphasising this meaning. Brecht consistently uses comedy throughout his play to make a darker point.
This is clear in German interest in Morocco. During both Moroccan crises, French and German relations reached new tensions after German attempts to control Western Morocco. However Germany did succeed and managed to gain control of various parts of the
Art Deco and Art Nouveau, both titanic artistic movements that are sometimes easy to confuse to those poor uneducated saps who hadn’t the pleasure of attending an Art History course in their lives. Both were revolutionary and embraced modernist elements, both were reactions to world shaking events and both are still popular to this day, with many recreations and new works being produced for the public. Art Nouveau, which here is represented by the right handed statue at the bottom of the page, reigned supreme from 1880 until the stirrings of world war one. It embraced the new industrial aesthetic of Europe, making it a blend of natural, curving, yet stylized forms that meshed with geometric shapes. Most art and sculpture took cues from nature, using forms that had been previously overlooked like insects and weeds.
Film directors Franco Zeffirelli, Michael Almereyda and Kenneth Branagh have transformed “Hamlet” to altering levels of victory on the screen while accomplishing this in the course of deserted differences in analysis and through taking into consideration very different creative ideas. Zeffirelli’s 1990“Hamlet” is an elucidation designed for the ordinary Hollywood audience, who by now were systematically interested in Mel Gibson – one of the rising stars of the early nineties. Gibson does well to conceptualize the outbreak of emotions infuriating Hamlet and this allows the ordinary audience to follow quite easily, his complex and changing mindsets. The famous Act Three, Scene One “To be or not to be…” monologue is done mainly well, with Gibson upholding a characteristic of strength, even as Hamlet riotous behaviour in his own depression and considers suicide. Zeffirelli and Gibson have shared their ideas to produce an understanding of Hamlet that is insightful but never weak, very active and external in the representation of emotion – but not over the top.
HIS 270 3/7/2013 Unit IV Response Essay Unit IV: Ultra-Nationalism and the Return of War Media has become a strong tool for persuading the masses of a certain thought or ideology. Media of all kinds were used during the war and during peacetime to make situations seems better or worse than they really were. Film was the primary media of choice at this time, as it was still an evolving and developing media format. All forms of media available at this time were used to try and persuade people to believe what the government believed in. France and Germany had never been on good terms with one another, but some films, such as The Eye of Vichy, attempted to make the Franco-German relationship seem better than it really was.