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Propaganda Film: World War
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Perhaps not surprisingly, the Cubans have been well aware of the power of film propaganda. The Instituto Cubano del Arte e Industria Cinematograficos (ICAIC) took over film production three months after the over-throw of dictator Fulgenico Batista in 1959. Although technically not a state agency, ICAIC emphasized documentary and fictional filmmaking that valorized the ideology and accomplishments of Fidel Castro's regime. Santiago Á lvarez (1919–1998) used Soviet montage style in his documentaries Hanoi, Martes 13 (1967), LBJ (1968), and 79 primaveras (79 Springs 1969). The latter film, for example, a tribute to the life of Ho Chi Minh, opens with an intellectual montage that juxtaposes time-lapse photography of flowers opening with slow-motion footage of US bomb strikes against Vietnam. Later, scenes of American military atrocities are conjoined with newsreel footage of US peace demonstrations, suggesting that the American people are not to blame for the Vietnam War, but its political leaders.
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Reeves, Nicholas Film Propaganda and Its Audience: The Example of Britain's Official Films during the First World War Journal of Contemporary History, Vol. 18, No. 3, Historians and Movies: The State of the Art: Part 1. (Jul., 1983), pp. 463-494. UC users only
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Film has been used for propaganda since its invention. As early as 1898, three years after its invention, film footage was used to excite the public about the Spanish-American War. Scenes such as the sinking of the Maine and Teddy Roosevelt and his Rough Riders splashing their way on to the beach brought never before seen moving images of conflict. Even thought many scenes were staged in an "invented actuality," the public thought they were seeing visual proof of the events happening in the world.
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"Der ewige Jude" was not released immediately because it awaited the final cut of the feature film "Jud Süß" which was another part of Goebbels' propaganda package. It should arouse those anti-Semitic feelings that were to be "proven" by the "authentic film-document," "Der ewige Jude." 29 While "Jud Süß" had its opening night with great publicity during the Venice film festival on September 6, 1940, "Der ewige Jude" was shown to the top people in the Third Reich on September 8 as the demonstration of the new kind of war propaganda that should prepare the German audience for the continuation of the war. 30 Now, nobody could be ignorant about the fact that the war was not just a "normal" war. It was a war on "Weltanschauungen," based on racism. Members of the attendant audience... protested heavily against showing the slaughtering scenes outside party meetings, and Goebbels had to produce a milder version - without these scenes - for women and children.
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As producer Hal Wallis was fighting to keep Casablanca true to his vision of what a war propaganda film should be, history intervened. In November 1942, the Allies landed in North Africa. With the Battle of Casablanca, they secured their first success in the African theatre. The impact of this victory on the United States was tremendous. The city of Casablanca was mentioned in newspapers and on the radio almost daily, sparking so much interest in the “exotic” locale that fashion designers even began inserting Moroccan motifs into their lines.21 Hal Wallis could not have bought this kind of publicity for Casablanca.
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Triumph of the Will was a Nazi propaganda film done by Leni Riefenstahl, who received the National Film Prize for 1934-1935. Joseph Goebbels called the propaganda work, which Hitler had personally commissioned, a "great film vision of the Fuhrer, who appears here for the first time graphically, with a forcefullness that has never before been seen."In Berlin, Joseph Goebbels, one of Adolf Hitlerâ € ™s top deputies, and Storm Troopers disrupted the premiere of "All Quiet on the Western Front," a film based on the novel of the same title by Erich Maria Remarque.Nazi protestors threw smoke bombs and sneezing powder to halt the film. Members of the audience who protested at the disruption are beaten. The novel had always been unpopular with the Nazis, who believed that its depiction of the cruelty and absurdity of war was "un-German." Ultimately, the film was banned.
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