Week 3 Assignment

 

1. What are the conditions that most promote propaganda? And how can you consider the distinction between the prevalence of propaganda and its ability to effectively persuade/indoctrinate?

This is interesting to consider in the context of the Welch reading, which explained that propaganda is largely only successful when reinforcing existing opinions, as opposed to introducing new concepts. The reading also explained how Goebbels placed an extra emphasis on monitoring public opinion. In this sense, it can be seen how Nazi propaganda capitalized on the German public’s stances and prejudices on certain issues (especially post-World War 1 humiliation and economic hardship such as rampant inflation). The second part of the question is important to consider because, as per the reading, Nazi propaganda was not always well received or believed, nor did it successfully address any of the issues (such as unemployment) it promised to.

2. To what extent can appealing to emotion be considered one of the core tenants of propaganda?

The Welch reading again focuses on the Nazi’s decision to narrow in on emotions like patriotism and pride - which was mirrored in their slogans and campaigns (such as “Beauty of Labor”). The Nazis made a series of choices, such as creating public rituals and new public holidays to attempt to foster a sense of national pride. This is again interesting to consider in the context of the German youth, where the emphasis on emotion was both where they were able to (forcefully) garner support but also foster resistance amongst youth groups. The reading details the loss of critical judgment that comes with emotionally charged propaganda. 

3. Is any piece of media created ever able to be truly impartial or non-curated? 

I found Leni Riefenstahl’s attempt at moral blamelessness as outlined in the Sennett reading to be noteworthy, as were the subsequent points made about how “aesthetics are not politically neutral or value free”. One of the concluding statements here really struck me - that in insisting that the film can be seen for its value as art without considering the political elements and intentions, she “continued to trumpet a key Nazi deception: that its art was nonpolitical and impartial”. The Nazi’s attempt to make propaganda “slickly” (or without letting across that it was, in fact, for propaganda/persuasion) is also relevant to consider in the context of this question.