Propaganda is subtle.

Rentschler, in the introduction to The Ministry of Illusion, highlights the problem of how to understand Nazi cinema-- the two modes often used seem too simplistic, one mode fully condemning all films from that era, the other fully exonerating them. The first mode seems largely focused on the political aspects of the films, while the second gives credit to their aesthetic "delights" (pg. 10). The films we've viewed in class so far, including Triumph of the Will and Hilter Youth Quex, directly address this issue, as they make clear that the political and aesthetic cannot be separated in Nazi films; the political ideas are transmitted largely through the aesthetics and cinematic techniques implemented. For example, in Hitler Youth Quex, overt elements like the dialogue are often less necessary for creating the intended emotional effect than the way the movie is shot-- the jarring, crowded scenes of the Communists are contrasted so effectively with the peaceful, orderly scenes of the National Socialists that the viewer can understand how s/he is supposed to feel through the images alone. This is why it seems completely incorrect to claim that "Propaganda does not show or suggest; it speaks" (pg. 11). In fact, the case seems to be the exact opposite, as it is becoming evident (and as Goebbels realized) that the most effective propaganda is subtle. This seems like a crucial point if we are at all to understand Nazi cinema, its structures, or its impact-- the viewers who are looking for obvious signs of malevolence such as those Rentschler speaks of in Premise 5 (pg. 22), or who believe the political and aesthetic elements of these films can be separated, will miss the point. Rentschler elaborates on this with his five premises, but it is also satisfying to notice these ideas in the films we have already seen for class.