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Conglong paper 1

Conglong paper 1 - Fascism underlying in films Fascism...

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Fascism underlying in films
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“Fascism” comes Opaque title. released good More important are the facist visuals which the film portrays (strength, beatify, community, vitality, spirituality, etc.) The athletic results don’t construct a consistent political narrative, but the aesthetic features do. That’s not really relevant for the question of whether the film is a propaganda Riefenstahl’s aesthetics are fascist but not really racist. Indirectly perhaps, through the stark contrast that the film establishes. Right. Singular/plural? from Italian word fascio which means "bundle" or group and Latin word fasces which means a bundle of sticks used symbolically for the power through unity (Payne, Stanley (1995). A History of Fascism, 1914-45 ). It is commonly considered that fascism in Germany arose from 1933, when the National Socialist German Workers’ Party (Nazi Party) ruled Germany after toppling Weimar Republic. At that time, films as a modern media inevitably joined the propaganda of Fascism and Nazi Party. The two films we saw, “The Street” and “Olympia I”, were published in different period: Weimar Cinema and Third Reich Cinema (Sabine, Hake (2006). German National Cinema) . That is why they have different effects on deluge of Fascism in Germany. Weimar Cinema, 1919-1933, "Trigger" of Fascism
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“The Street (Die Straße)” was published Opaque title. released good More important are the facist visuals which the film portrays (strength, beatify, community, vitality, spirituality, etc.) The athletic results don’t construct a consistent political narrative, but the aesthetic features do. That’s not really relevant for the question of whether the film is a propaganda Riefenstahl’s aesthetics are fascist but not really racist. Indirectly perhaps, through the stark contrast that the film establishes. Right. Singular/plural? in1923, during the period of Weimar Cinema, the postwar time. Scholars distinguished this period as three phases, and “The Street” was published in the first interval, when rise of expressionism out of the lost war, the failed revolution, and the rampant inflation happened (Sabine, Hake (2006). German National Cinema) . During that time, Germany looked like a inferno of people: no food, no hope. Meanwhile, the Fascist movement began with a meeting held in the Piazza San Sepolcro in Milan on March 23, 1919, which declared the original principles of the Fascists through a series of declarations. It’s hard for us to surmise the original aspiration of Karl Grune, the 33-year-old director. No matter he regarded his production as whether a drumbeating of newborn Fascism or just a catharsis of the hopeless situation, the film partially revealed hidden pre-fascist tendencies that make the rise of
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Hitler seem almost inevitable.
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The film reveals Opaque title.
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