8: Documentary as Propaganda

Documentary and Propaganda: 1930s–1940s

During the Great Depression, the United States government produced films. One landmark production was the 28-minute “The Plow that Broke the Plains” (1936). As part of President Franklin Roosevelt’s New Deal, he sought an effective way for the federal government to communicate with the public. The idea was to finance films and release them in theaters. Directed by Pare Lorentz, the film utilized poetic narration and imagery to address economic hardship.

The film presents the U.S. government’s perspective on farmland usage in the Great Plains after the Civil War. As part of a Resettlement Administration program, Roosevelt aimed to reform land management and commissioned the film to change how this land was used. The government sought to illustrate that the displacement of settlers and the mismanagement of the land ultimately led to the dust storms that impacted the Great Plains during the 1930s. The film emphasizes how government intervention addressed this disaster.

The film received a combination of high praise and some criticism. While newsreels, journalists, and politicians from the Great Plains often attributed the disasters to weather conditions, Lorentz offered a different perspective. He emphasized mechanized agriculture and human actions as the true primary culprits.

Leni Riefenstahl's “Triumph of the Will” (1935) was released before World War II began. This Nazi propaganda film depicted the 1934 Nazi Party Congress in Nuremberg, which was attended by 700,000 people. It demonstrated how film could be used for political purposes during the war, using innovative filmmaking techniques such as fast editing, aerial shots, and heroic portrayals of the military. Riefenstahl coordinated the use of 30 cameras and 150 crew members to portray the rally as a powerful display of German strength and resolve, influencing public opinion within the country.

Those critical of the film argue that many scenes were staged for effective camera placement, viewing it as propaganda rather than a genuine documentary, since it aimed to promote an idea rather than present facts. Riefenstahl herself rejected this sentiment, stating she was simply filming history as it unfolded.

Humphrey Jennings, a British filmmaker in John Grierson's GPO Film Unit, created patriotic English films. Films such as “Spare Time” (1939), “London Can Take It” (1940), and the nonlinear storytelling of “Listen to Britain” (1942) document ordinary people in their natural environment by capturing everyday conversations and social behaviors. In 1940, Jennings joined the “Crown Film Unit,” a propaganda filmmaking arm of the Ministry of Information. Here, he produced wartime films and demonstrated how documentaries could serve as propaganda.

In the early years of World War II, Jennings concealed the use of direct propaganda, claiming it was "un-British." Consequently, Jennings chose to disguise propaganda through ambiguity, utilizing poetic, symbolic, or surreal imagery. For instance, at the end of “Spare Time,” we hear the patriotic “Roll Britannia” anthem played on kazoos, while a cut to a caged lion quickly undermines the mock-triumphant shot of the English flag being raised.

Documentary propaganda films played a significant role during World War II by rallying public support, educating citizens about the war's purpose, and boosting morale. Governments and military agencies, especially in Allied countries, collaborated with filmmakers to create these impactful productions.

In response to Leni Riefenstahl's German propaganda films, the U.S. commissioned Hollywood directors to educate Americans about the war and its stakes, including Frank Capra’s "Why We Fight" series. These films, along with others, aimed to inform, persuade, and rally support for the war effort. Other notable films include "Let There Be Light," which addressed the psychological impact of war on veterans, although it faced censorship. "Nazi Concentration Camps" documented the horrors of concentration camps, while "Churchill's Island" and "Inside Fighting China" showcased the war from Canadian perspectives.

US Productions

• "Kukan" (1941): An American film directed by Rey Scott, focusing on China during the war.
• "The Battle of Midway" (1942): A US Navy film, directed by John Ford, documenting the crucial naval battle in the Pacific.
• "Memphis Belle: A Story of a Flying Fortress" (1944): Directed by William Wyler, this US documentary follows the crew of a B-17 bomber on their final mission.
• "The Battle for the Marianas" (1944): A US documentary directed by Gordon Hollingshead, likely covering the campaigns in the Pacific.

Germany

• Theresienstadt: A Documentary Film (1944): This film, produced by the Nazi's, was created to discredit reports of genocide in the concentration camps.

Soviet Productions:

• "Moscow Strikes Back" (1942): This Soviet documentary, directed by Leonid Varlamov and Ilya Kopalin, captured the Battle of Moscow. It showed civilians preparing defenses and troops engaging in battle, receiving international praise for its realism.
• "The Fall of Berlin" (1945): A Soviet film focusing on the final offensive against Nazi Germany.

Other Notable Films:

• "Desert Victory" (1943): A British film documenting the Allied victory in North Africa.
• "The True Glory" (1945): A joint British-US production that chronicled the final stages of the war in Europe, from D-Day to the German surrender.

These documentaries, along with many others, served as influential tools for disseminating information and documenting history during World War II. They offer valuable insights into the diverse perspectives and experiences of the war, while also showcasing the impressive technological and cinematic capabilities of that era.

Thumbnail: A movie in technicolor "Combat America" buy extra war bonds - NARA - 513734 from Picryl. public domain.