by jessica.karkheck -

Die Kunst des Theaterfechtens: Wie „The Princess Bride“ das Duell neu definiert

Die Fechtszene zwischen Inigo Montoya und dem „Mann in Schwarz“ in The Princess Bride (1987) ist eine der ikonischsten Kampfszenen der Filmgeschichte. Sie vereint Humor, technische Präzision und Charakterdarstellung auf eine Weise, die bis heute ihresgleichen sucht. Doch was macht diese Szene so einzigartig? Neben einer brillanten Choreografie und schauspielerischen Leistungen zeichnet sich das Duell durch die Kunst des Theaterfechtens aus, einer Stilrichtung, die darauf abzielt, Kämpfe für das Publikum sicher und zugleich spektakulär zu gestalten.

In diesem Blog analysieren wir, wie Theaterfechten, historische Referenzen und die Arbeit des Choreografen Bob Anderson diese Szene zu einem Meisterwerk gemacht haben.

Theaterfechten: Gute Mischung aus Kunst und Sicherheit

Im Gegensatz zu realistischen Kampftechniken, die auf Effektivität und Effizienz abzielen, ist Theaterfechten eine Kunstform, die darauf ausgelegt ist, Kämpfe visuell beeindruckend und narrativ zugänglich zu machen. Bewegungen werden übertrieben, verlangsamt oder dramatisiert, um für das Publikum verständlich zu bleiben.

In The Princess Bride wurde das Theaterfechten bis zur Perfektion eingesetzt. Die Bewegungen der Charaktere sind nicht nur ästhetisch ansprechend, sondern auch leicht nachvollziehbar. Der Film zeigt große, geschwungene Schläge und elegante Paraden, die deutlich über die Realität hinausgehen, aber dennoch glaubwürdig wirken.

Ein weiterer Vorteil des Theaterfechtens ist die Sicherheit der Darsteller. Cary Elwes (der „Mann in Schwarz“) und Mandy Patinkin (Inigo Montoya) haben beide monatelang trainiert, um die Choreografie perfekt zu beherrschen und gleichzeitig Verletzungen zu vermeiden. Der Einsatz stumpfer Waffen und präzise abgestimmter Bewegungen gewährleistete, dass die Szene nicht nur beeindruckend aussah, sondern auch sicher für die Darsteller war.

Die Fechtszene in The Princess Bride trägt die Handschrift von Bob Anderson, einem der renommiertesten Stunt-Choreografen der Filmgeschichte. Anderson, der selbst ein professioneller Fechter war, arbeitete an zahlreichen ikonischen Filmen wie Star Wars, Die drei Musketiere und Der Herr der Ringe.

In The Princess Bride setzte Anderson auf eine Mischung aus dynamischen Bewegungen und humorvollen Momenten. Jede Bewegung der Kämpfer ist präzise choreografiert, um die individuellen Persönlichkeiten der Charaktere zu unterstreichen:

Inigo Montoyas Kampfstil ist elegant, kontrolliert und technisch versiert, was seine Erfahrung und Hingabe als Fechter widerspiegelt.
Der „Mann in Schwarz“ kombiniert technische Präzision mit improvisierter Energie, was seinen scharfen Verstand und seine Anpassungsfähigkeit betont.

Charakterdarstellung durch Fechtkunst

Ein einzigartiger Aspekt der Fechtszene ist, wie sie die Persönlichkeiten der Charaktere durch ihren Kampfstil vermittelt.

  • Inigo Montoya wird als ehrenhafter und hochbegabter Fechter dargestellt. Sein Stil ist geschmeidig und präzise, was seine Disziplin und Hingabe an die Kunst des Fechtens zeigt. Diese Eigenschaften spiegeln auch seinen inneren Konflikt wider: Seine Rache ist durchdrungen von Ehre und einem tiefen moralischen Kompass.
  • Der „Mann in Schwarz“ hingegen ist ein cleverer und wendiger Kämpfer, der sich an seinen Gegner anpasst. Sein Stil ist weniger elegant, aber effektiv, was seine Fähigkeit symbolisiert, mit Intelligenz und Kreativität jede Herausforderung zu meistern.

Die Fechtszene ist nicht nur ein Kampf – sie ist ein Dialog zwischen den Charakteren, der ihre Persönlichkeiten und Motivationen auf subtile Weise enthüllt.

Referenz an historische Fechtmeister: Die Fechtkunst von Bonetti und Capo Ferro

Eine besondere Hommage an die historische Fechtkunst findet sich in den Dialogen der Szene. Während des Kampfes nennt Inigo Montoya Techniken, die auf reale Fechtmeister des 16. und 17. Jahrhunderts verweisen:

  • „Bonetti’s Defense“ und „Capo Ferro“ beziehen sich auf historische Fechtmeister:
    • Ridolfo Capo Ferro: Ein italienischer Fechtmeister des frühen 17. Jahrhunderts, dessen Werk Gran Simulacro dell’Arte e dell’Uso della Scherma (1610) als eines der einflussreichsten Fechtbücher seiner Zeit gilt.
    • Bonetti: Obwohl es keinen Beweis gibt, dass es eine echte Fechtkunst namens „Bonetti’s Defense“ gab, ist dies vermutlich eine augenzwinkernde Hommage an die florierende Fechtszene der Renaissance.

Diese Anspielungen fügen der Szene eine zusätzliche Ebene hinzu und zeigen, dass die Macher des Films bewusst historische Elemente integriert haben, um die Authentizität und den Humor zu unterstreichen.

Der Humor als Herzstück der Choreografie

Was die Fechtszene in The Princess Bride so besonders macht, ist der Humor, der nahtlos in die Bewegungen und den Dialog eingebunden ist. Die Kämpfer kommentieren während des Duells nicht nur ihre eigenen Techniken, sondern auch die Fähigkeiten des Gegners. Dieser witzige Austausch lockert die Szene auf, ohne ihre technische Präzision zu beeinträchtigen.

Beispiel: Der Dialog, in dem beide Charaktere zugeben, dass sie absichtlich mit der schwächeren Hand kämpfen, ist ein genialer Moment, der sowohl Humor als auch Spannung aufbaut. Diese Mischung aus Leichtigkeit und Dramatik macht die Szene einzigartig.

Fazit

Die Fechtszene in The Princess Bride ist weit mehr als ein unterhaltsamer Schwertkampf – sie ist ein Kunstwerk, das Theaterfechten, Humor, Charakterdarstellung und historische Referenzen miteinander verbindet. Bob Andersons präzise Choreografie, die schauspielerischen Leistungen von Cary Elwes und Mandy Patinkin und die subtile Hommage an die Fechtkunst vergangener Jahrhunderte machen diese Szene zu einem zeitlosen Klassiker.

The Princess Bride zeigt, dass Kampfchoreografie nicht nur eine technische Herausforderung, sondern auch eine erzählerische Kunstform ist – eine, die sowohl die Augen als auch die Herzen der Zuschauer anspricht.

by alina.huft -

Wag the Dog: Propaganda within a film and the role of storytelling

In the world of political manipulation and propaganda, the 1997 film “Wag the Dog” has a special place. The satire, directed by Barry Levinson, shows how a political scandal is covered up by staging a fictitious war. The film offers an entertaining but also frightening perspective on how media and storytelling can be used to influence public opinion. (Levinson, 1997). This blog post analyses the way propaganda techniques are applied within the film. The term “wag the dog” already gives insights into what the movie topic is about. The phrase already indicates that attention is being diverted and the focus lies on something else (Wag The Dog | Phrase Definition, Origin & Examples, n.d.).  

The film begins with a political nightmare: the US president is confronted with a scandal shortly before his re-election. To deflect public attention, his advisor Conrad Brean, played by Robert De Niro, hires a Hollywood producer, Stanley Motss, played by Dustin Hoffman. Together they want to create the illusion of a war against Albania, by creating fake news, patriotic songs, and a tragic heroine story. The plot reveals how easy it is to create an alternative reality with the help of the media. By manipulating emotions and spreading targeted information, the protagonists control the population’s perception – a central propaganda mechanism.

The film clearly shows how emotionalization is used to capture people’s attention. An invented ‘tragic heroine’ is presented whose fate evokes the audience’s sympathy one of the scenes is where a young girl escapes from a destroyed village with a cat. This scene is particularly impressive and influential. This kind of emotional imagery makes the audience forget that the war itself is not real. Hereby showing that the use of emotions is a tried and tested propaganda method that is also used and implemented in the real world. The film adds the targeted repetition and consistency of the message over and over again. The invented story of the war is repeated again and again in various media until it is accepted as truth within the population. This technique makes use of the famous propaganda rule: ‘A lie that is repeated often enough becomes the truth.’

Another central element within the movie is distraction. The staged war is able to distracts the population from the president’s actual scandal and shows how propaganda can be used to control public perception. The film illustrates how crucial it is to control the media in order to spread a certain message. With this visual and narrative elements are staged really well in the film to create credibility and draw the audience’s attention to the chosen narrative and not the present scandal.

“Wag the Dog” is also fascinating from a different point of view. The way images, music, and stories are used shows the importance and impact designs can have on conveying messages. The fake news reports in the film are an impressive illustration of how visual content can be manipulated to create emotions and with this create a certain type of credibility. With this, the musical backing also plays a very crucial role within the movie. A patriotic song called ‘We Are the Land of the Free’ is composed especially for this fictional war just to make the whole story and idea more convincing for the population to believe. Music is used here as a powerful tool to reinforce emotions and anchor a message. 

Although the film was released over 25 years ago, it hasn’t lost its importance and impact. At a time when fake news and disinformation are more common, the message of “Dare the Dog” is more relevant than ever. With this, the film can remind the audience of the importance of critically questioning information and recognizing the power of the media. The mechanisms of manipulation depicted in the movie are even easier to implement today through social media channels and digital platforms and are often more difficult to see through. It shows that those who tell stories have enormous power, which can be used for both a good and bad purpose.

With this the movie “Wag the Dog” is more than just a satire – it is a lesson in how propaganda works and the role that media play in it. The film impressively shows how storytelling can be used to shape reality and influence opinions.  At the same time, the film is an invitation to consumers to question information carefully and not to be influenced by a well-told story. As the movie impressively shows, the line between truth and fiction can be very thin. The film can teach that critical thinking and healthy skepticism are the best tools for recognizing manipulation and arming ourselves against propaganda.

Sources:

Levinson, B. (Director). (1997, December 25). Wag the Dog. Baltimore Pictures, TriBeCa Productions.

Wag the Dog | Phrase Definition, Origin & Examples. (n.d.). https://www.gingersoftware.com/content/phrases/wag-the-dog#

by jessica.karkheck -

Warum selbst in Historienfilme historische Ungenauigkeiten sinnvoll sein können

Historienfilme und -Serien ziehen Zuschauer in vergangene Epochen und entführen sie in die Welt des Mittelalters und der frühen Neuzeit. Doch wie viel historische Authentizität braucht ein solcher Film, wenn es sich dabei nicht um einen Dokumentarfilm handelt? Ist es immer notwendig, jedes Detail akkurat darzustellen, oder bis zu welchen Grad kann es sinnvoll sein, von der Geschichte abzuweichen, um eine spannendere Geschichte zu erzählen? Dieser Artikel beleuchtet den Konflikt zwischen Realismus und künstlerischer Freiheit, untersucht die Gründe für historische Ungenauigkeiten und zeigt anhand von Beispielen, wie eine Balance zwischen beiden Ansätzen gelingen kann.

Authentizität vs. künstlerische Freiheit

Filme und Serien sind in erster Linie Geschichten und während Dokumentationen versuchen, die Realität und die darin thematisierten Charaktere und Ereignisse so objektiv wie möglich darzustellen, haben Historienfilme oft ein anderes Ziel: Sie wollen unterhalten und emotional bewegen. Dabei entsteht ein natürlicher Konflikt zwischen Realismus und künstlerischer Freiheit.

Historische Genauigkeit sorgt für Glaubwürdigkeit und Immersion. Zuschauer, die sich für eine bestimmte Epoche oder ein historisches Ereignis interessieren, erwarten häufig ein hohes Maß an Detailtreue. Authentizität hilft dabei, die Komplexität und Nuancen einer historischen Zeit zu verstehen – von politischen Strukturen bis hin zu sozialen Dynamiken.
Ein Beispiel hierfür ist Master and Commander (2003). Der Film zeichnet sich durch seine präzise Darstellung des Lebens an Bord eines Kriegsschiffs im frühen 19. Jahrhundert aus. Von den Uniformen der Offiziere über die Navigationsinstrumente bis hin zur Sprache der Besatzung – alles wurde sorgfältig recherchiert und authentisch inszeniert. Diese Detailtreue schafft eine immersive Atmosphäre, die es dem Publikum ermöglicht, tief in die maritime Welt der Napoleonischen Kriege einzutauchen.

Trotz aller Bedeutung der Authentizität bleibt ein Film ein erzählerisches Medium, das darauf abzielt, Emotionen zu wecken und Geschichten zu erzählen. Historische Fakten allein reichen oft nicht aus, um eine packende Handlung zu erzeugen. Hier kommt die künstlerische Freiheit ins Spiel, die es Filmemachern erlaubt, die Realität zu dramatisieren, zu verkürzen oder sogar zu verändern, um eine mitreißende Erzählung zu schaffen.

Ein Paradebeispiel für den Einsatz künstlerischer Freiheit ist Ridley Scotts Gladiator (2000). Der Film nimmt sich viele Freiheiten bei der Darstellung des antiken Roms, von der Figur des Kaisers Commodus bis hin zur Arena-Kultur. Doch diese Änderungen dienen dem Zweck, eine eine klare Heldenreise zu erzählen, die Zuschauer emotional anspricht. Die Konflikte und Kämpfe von Maximus sind archetypisch und universell, was den Film für ein breites Publikum zugänglich macht, auch wenn die historische Genauigkeit darunter leidet.

Dieser Konflikt prägt die Produktion vieler Historienfilme und zieht sich bis hin zu der Darstellung von Kämpfen und Duellen.

Gründe für Ungenauigkeiten

1. Dramatische Wirkung: Der Kampf als emotionaler Höhepunkt

Kampfszenen sind oft der Höhepunkt eines Films oder einer Serie. Sie dienen nicht nur dazu, den Konflikt aufzulösen, sondern auch, die Zuschauer emotional zu packen.

Ein authentischer bewaffneter Kampf war oft schnell und chaotisch. Ein einziger Treffer konnte, je nach Rüstungsgrad der Kontrahenten, tödlich sein, und Duelle dauerten selten länger als wenige Minuten. Diese Realität ist jedoch für Zuschauer häufig wenig befriedigend, daher verlängern Filme Kämpfe, übertreiben Bewegungen oder inszenieren spektakuläre Wendungen, um mehr Spannung aufzubauen.

Beispiel: The Last Duel (2021) zeigt ein realistisch wirkendes Duell, das jedoch dramaturgisch aufgearbeitet wurde und dementsprechend atypische Handhabung der darin vorkommenden Breitschwerter inne hat, um die Spannung und Intensität des Kampfes zu steigern. Die Choreografie bleibt, im Vergleich zu anderen Filmen, auf der eher authentischen Seite, aber die emotionale Bedeutung des Kampfes wird durch Stilisierung verstärkt.

2. Charakterentwicklung: Waffen und Kampfstile als Ausdruck von Persönlichkeit

Die Wahl von Waffen und Kampfstilen kann viel über die Charaktere eines Films aussagen. Hierbei spielt die Authentizität oft eine untergeordnete Rolle, da die Inszenierung wichtiger ist als historische Details. Sie spielen in Filmen oft eine zentrale Rolle bei der Charakterentwicklung und sind mehr als bloße Werkzeuge oder Kampftechniken – sie dienen als visuelles und erzählerisches Mittel, um die Persönlichkeit, Werte und Entwicklung einer Figur zu unterstreichen, worunter die Authentizität dementsprechend leiden kann.

So wird in The Princess Bride (1987) der Fechtstil jedes Charakters genutzt, um dessen Persönlichkeit zu unterstreichen. Die Kämpfe sind choreografisch anspruchsvoll, aber absichtlich überzogen und humorvoll gestaltet, um die märchenhafte Stimmung des Films zu unterstützen. Mehr dazu im nächsten Blog.

Ein anderes, etwas fantasievolleres Beispiel sind Geralt von Rivas zwei Langschwerter aus “The Witcher” 2019 – eines aus Stahl für Menschen und eines aus Silber für Monster – spiegeln nicht nur seine Berufung als Hexer wider, sondern verdeutlichen auch seine Dualität zwischen zwei Welten: der menschlichen und der magischen.

Dieses Beispiel von Connor Chamberlain1 demonstriert die dramaturgische Stilisierung von Geralts Kampfszene in Form von zeitlischer Mainpulation sowie der teils theatralischen und wenig realistischen Handhabung des Langen Schwerts (Minute 9:03).

3. Praktische Gründe: Machbarkeit für Schauspieler

Historische Techniken können je nach Komplexität und Waffe schwer zu erlernen sein. Schauspieler haben oft nur wenige Wochen Zeit, um komplexe Choreografien einzuüben und die Wenigsten sind enthusiastische Fechter:Innen, wodurch die Sicherheit und Routine mit der Waffe fehlt. Um Verletzungen zu vermeiden, werden ebenjene Kampfszenen an die Fähigkeiten der Darsteller angepasst. Das Ergebnis sind oft Bewegungen, die stilisiert und vereinfacht werden, um sicher und gleichzeitig eindrucksvoll zu wirken. So sind beispielsweise in Braveheart (1995) die Schlachten visuell beeindruckend, aber die Kämpfer führen oft für deren Ausbildung (beispielsweise die trainierten und ausgebildeten Soldaten eines Kommandanten) im Kampf sehr ausladende, ungeschützte und daher oft unrealistische Bewegungen aus, die hauptsächlich für das Storytelling entworfen wurden.

Historische Ungenauigkeiten sind nicht automatisch ein Makel. Sie können vielmehr dazu beitragen, eine Geschichte zugänglicher, spannender und emotionaler zu gestalten. Die besten Historienfilme sind jene, die Authentizität als Werkzeug nutzen, aber gleichzeitig den Mut haben, die Realität dort anzupassen, wo es für die Dramaturgie notwendig ist, ohne sich dabei zu stark von der Glaubwürdigkeit weg zu bewegen.

Letztendlich ist es die Fähigkeit, historische Elemente respektvoll zu adaptieren, die diese Filme und Serien auszeichnet. Sie können uns die Vergangenheit näherbringen und gleichzeitig unterhalten – ein Spagat, der nicht leicht zu meistern ist, aber enorme kreative Möglichkeiten bietet.

Ob authentische Schwertkämpfe, überzeichnete Duelle oder epische Schlachten – das Ziel bleibt immer, die Zuschauer zu begeistern und sie in eine andere Zeit zu entführen. Wenn dies gelingt, spielt es oft keine so große Rolle, ob jedes Detail der Realität entspricht, denn die Geschichte lebt durch die Emotionen, die sie vermittelt.

  1. Denver Historical Fencing Academy
    https://denverhistoricalfencing.com/ ↩︎
by alina.huft -

Storytelling: The Art of Manipulation

The following images contain historical representations of Nazi symbols and propaganda. They are for documentation and analysis purposes only and are not endorsed

At its core, storytelling is the art of creating narratives that inspire the audience. This includes creating different characters, developing plots, and evoking different emotions. Effective storytelling can transport audiences to other worlds, inspire empathy, and change perspectives. As Steve Jobs once said, “The most powerful person in the world is the storyteller. The storyteller sets the vision, values, and agenda of an entire generation that is to come.” (Raja, 2023). This as another example highlights the immense power of storytelling. 

Propaganda, on the other hand, is the active dissemination of information – facts, arguments, rumors, half-truths, or lies – to influence public opinion. When combined with storytelling tactics, propaganda becomes even more effective. By creating captivating narratives, propagandists can bypass critical thinking and thus appeal to deep-seated emotions and exploit them for their own ends. In certain cases, methods such as ‘scapegoating’ are used, where a person or group is used to achieve a specific purpose. This method has the purpose of transferring the blame to them and thus presenting the image that all problems are caused by this group and must therefore be eliminated (Prejudice in Society: Sociological Perspectives, 2015). The ‘knife in the back’ myth was a central component of National Socialist propaganda. It was used to explain the defeat in the Second World War and to shift the blame away from the Nazi leadership. By claiming that the German people had been ‘betrayed’ from within, the Nazis were able to fuel hatred towards certain groups and deny their own responsibility for the regime’s crimes (Hindenburg Spreads “Stab-in-the-Back” Myth, n.d.). 

When it comes to Storytelling various methods were used, including the simplification of complex issues. As a result, complex problems and themes were simplified. Among other things, simple solutions were then also offered to such complex problems, which were mostly black-and-white thinking and did not consider the complexity at all. Again, the methods mentioned above were used making it easier to communicate to a broader audience. Another variant was repetition, where important messages were repeated again and again to get them into people’s heads. As a result, many messages were later internalized at a subconscious level and inner action or thinking changed. For propaganda purposes, emotional appeal was also an important way of reaching people. Stories were designed to evoke strong emotions, such as fear, anger, and pride. The use of symbols in National Socialist propaganda contributed significantly to shaping public opinion and promoting a sense of national unity. Symbols such as the swastika, the eagle, and the oak leaf were carefully selected and used to evoke certain emotions and associations. These visual cues simplified complex ideological concepts and enabled the Nazi regime to create a strong and enduring visual identity. By integrating these symbols into every aspect of public life, from architecture to art to everyday objects, the Nazis sought to create a totalizing environment that left no room for dissent (Takala & Auvinen, 2016). 

One of the most notorious examples of Nazi propaganda is Leni Riefenstahl’s film “Triumph of the Will” (1935). This documentary, chronicling the 1934 Nuremberg Rally, employed a range of cinematic techniques to create a visually stunning and emotionally charged spectacle (Candler, 2016). Riefenstahl masterfully manipulated viewers’ emotions through her use of music, camera angles, and editing. Soaring orchestral scores, coupled with sweeping aerial shots and close-ups of adoring faces, fostered a sense of collective euphoria. Hitler, portrayed as a charismatic leader bathed in spotlights, commanded the unwavering devotion of the masses, further reinforcing the image of an unstoppable and unified Nazi movement. The sheer scale of the rallies, with thousands of uniformed party members marching in perfect synchronization, instilled awe and intimidation (Candler, 2016). 

Although film and others were powerful instruments, they were just one small piece of the Nazi propaganda machine. Radio programs became an omnipresent platform for the dissemination of news and speeches, often infused with nationalist and anti-Semitic rhetoric. Newspapers, which were tightly controlled by the regime, picked up on these messages and suppressed all alternative voices. Posters that were displayed in public places used bold images and simple slogans designed to evoke fear, anger, and blind obedience (Fürstenau, 2020). The color red became the symbol of strength, power, and revolution – a visual representation of Nazi ideology. Black, on the other hand, was used to demonize the ‘enemy’, while white symbolized Aryan purity (zsong@conncoll.edu, n.d.). Similarly, bold, sans-serif fonts were used in propaganda materials to convey a sense of urgency and absolute authority.

How the Nazis mastered propaganda techniques has had a lasting impact on the world. Even today, these methods continue to be used by authoritarian regimes and extremist groups to manipulate public opinion and justify violence

References:

Raja, M. (2023, June 2). Why Do We Fall For Narratives? – love what you make – Medium. Medium. https://medium.com/love-what-you-make/why-do-we-fall-for-narratives-a5605d55726c

Hindenburg spreads “Stab-in-the-Back” myth. (n.d.). https://encyclopedia.ushmm.org/content/en/timeline-event/holocaust/before-1933/hindenburg-spreads-stab-in-the-back-myth

Prejudice in Society: Sociological Perspectives. (2015). Science Direct. https://www.sciencedirect.com/topics/social-sciences/scapegoating#:~:text=Scapegoating%20Theory,-Scapegoating%20theory%20says&text=Similarly%2C%20the%20theory%20of%20scapegoating,failure%20to%20some%20vulnerable%20group.

Candler, P. (2016). How a Nation Lost Its Mind. La Review of Books. https://lareviewofbooks.org/article/nation-lost-mind/

Fürstenau, M. (2020, November 30). How the Nazis used poster art as propaganda. dw.com. https://www.dw.com/en/how-the-nazis-used-poster-art-as-propaganda/a-55751640

Takala, T., & Auvinen, T. (2016). The Power of Leadership Storytelling: Case of Adolf Hitler. In Tamara : Journal for Critical Organization Inquiry (Vols. 14–14, Issue 1, pp. 21–34). Kozminski University. https://jyx.jyu.fi/bitstream/handle/123456789/49268/etamara%20art%20adolf%20hitler%20storytelling.pdf?sequence=1

by alina.huft -

Introduction to the power of propaganda

This blog series will dive deep into the world of propaganda, exploring its history, its techniques, and its transformation into the digital age using new platforms such as TikTok and Instagram. One of the focuses will be on how propaganda was used by the NSDAP and how it has evolved and is used by other right-wing parties today. In addition, these blog posts will look at storytelling within propaganda techniques, the importance of telling good stories, and how certain techniques can influence and spread messages.

Hereby starting with introducing the term propaganda, according to Bildung (2024) propaganda is “the attempt to deliberately influence people’s thoughts, actions and feelings,” most of the time used within politics, but also used in advertisement to a certain point. Propaganda is characterized by the fact that it does not present the different sides of an issue; rather, it mixes opinions and information. Those who engage in propaganda do not want to discuss and convince with proper arguments, but use all kinds of ways to influence people’s emotions and behavior, for example by drawing from negative emotions such as anger or fear. Within politics, the form of propaganda not only uses emotional appeals but also name calling, scare tactics, manipulating information, and the use of symbols, stereotypes, and slogans among many other ways (Cuncic, 2023).

Propaganda is not a modern invention. It has been around for a long time and already started in ancient times when the government used propaganda to advance their political cause for their own benefit. Within that time one of the people that used it to their advantage was Octavian. He carried out an aggressive propaganda campaign to destroy his rival Marcus Antonius and thus became emperor of Rome (Sifuentes & Raddato, 2024). These early techniques amongst many others laid the groundwork for the more advanced methods also seen in regimes like Nazi Germany during the 1930s, which had perfected the use of film, posters, and speeches to manipulate public opinion.

The start of Nazi propaganda as it was later known started in the period after the First World War. The economic dysfunction and dissatisfaction of the Weimar Republic provided a fertile ground for extremist ideologies. This dysfunction and dissatisfaction amongst the people could later be utilized by the Nazi Party. Under the leadership of Adolf Hitler, the party capitalized on this discontent by, presenting a seductive and appealing narrative that promised a new positive future for Germany. Joseph Goebbels, the propaganda minister, was a master at manipulating public opinion. He knew how to use the power of emotional appeals, repetition, and simplification. His propaganda machine produced a large amount of messages aimed at finding enemies to against, glorifying the Führer and conveying a certain sense of national unity. (Propaganda and the Nazi Rise to Power – the Holocaust Explained: Designed for Schools, 1923). With his campaign, he managed to create an image of Hitler which was later known as the “The Hitler Myth” portraying an image of him as “Superman” and as a heroic leader of his political party (Ian Kershaw, n.d.).

Nowadays, the typical term propaganda can mainly be associated in connection with authoritarian or totalitarian states. Here it is usually used with different forms of information being controlled by direct censorship or the monopolization of the media.

However, even today, different ways of propaganda are still being used through new social media platforms and so-called TikTok campaigns by right-wing political parties such as AfD or FPÖ. Hereby the essence of propaganda lies in its storytelling and visual approach. Through the use of carefully crafted images and narratives, emotions such as fear, pride, and hope are used to convey messages that resonate strongly with the platform’s viewers. Platforms such as TikTok also allow for short, emotionally charged videos that combine engaging visuals with persuasive messaging (Reinders, n.d.). With this strategy, they can reach a much younger and broader target audience.

In the following blog series, other topics and questions are going to be explored such as: How was propaganda used in the media during the Nazi regime? What storytelling techniques made propaganda so effective in evoking emotions and influencing opinions? How do visual elements like color, typography, and video editing enhance propaganda’s impact?

References:

Bildung, B. F. P. (2024, January 22). Was ist Propaganda? bpb.de. https://www.bpb.de/themen/medien-journalismus/krieg-in-den-medien/130697/was-ist-propaganda/

Sifuentes, J., & Raddato, C. (2024). The propaganda of Octavian and Mark Antony’s civil war. World History Encyclopedia. https://www.worldhistory.org/article/1474/the-propaganda-of-octavian-and-mark-antonys-civil/

Ian Kershaw. (n.d.). The Hitler myth. In historytoday.com. http://history-groby.weebly.com/uploads/2/9/5/6/29562653/hitler_myth.pdf

Propaganda and the Nazi rise to power – The Holocaust Explained: Designed for schools. (1923, November 9). https://www.theholocaustexplained.org/the-nazi-rise-to-power/the-nazi-rise-to-power/propaganda/

Reinders, S. (n.d.). Modern propaganda: hiding in plain sight. Scot Scoop News. https://scotscoop.com/modern-propaganda-hiding-in-plain-sight/

Cuncic, A., MA. (2023, November 29). How does propaganda work? Verywell Mind. https://www.verywellmind.com/how-does-propaganda-work-5224974

by hannah.wasserfaller -

Story based formats in Dementia treatments | Part 1.1: Digital storytelling in dementia treatment

Digital storytelling in dementia treatment

To gain a better understanding as to why digital storytelling could have a potentially positive impact on people with dementia, the following paragraphs will assess the 2017 conference paper “Digital Storytelling and Dementia” and elaborate on the findings of the authors.

Similar to other definitions, the authors of the paper suggest that digital storytelling is a type of narrative which utilizes media technology in order to create short films. Media can include sound, pictures, music, and videos. (Park, 2017, 1) It should be noted that the authors, too, agree on the fact that there is no single definition of digital storytelling, as they vary in the literature and can include the usage of communication assistive devices, ambient assistive technology, or reminiscence therapy, for the purpose of the documented study, however, the first mentioned definition holds. (Park, 2017, 2) 

The authors indicate that past research on this topic has shown potential positive effects for people with dementia to include enhanced relationships and better communication. (Park, 2017, 1) Other benefits that have been mentioned in literature are enhanced well-being, a higher level of confidence, and a sense of purpose.    Furthermore, it is stated that digital storytelling can be effective for conveying important information since it is not dependent on a single method for telling a story but allows for multiple ways to communicate it. Visuals, music and spoken words are, while being selected independently, working as a collective in relaying messages to an audience. Another beneficial factor is the ongoing availability of the content over time: participants can repeatedly  listen to or view stories whenever they please. Also, the stories can be preserved and given to loved ones as a form of legacy. (Park, 2017, 2)

For the study discussed in the paper, seven participants with dementia in the early disease stage were involved in a seven-session workshop over a six-week period. The objective of the workshops was to create digital stories with the help of care partners and researchers. The paper focuses on the first location of an ongoing multi-site project as at the time of its creation, the study was still in the preliminary stage of analysis at the first site only. The purpose of the conducted study was to better understand the benefits of storytelling and digital media usage for people suffering from dementia. (Park, 2017, 2) Sessions included a pre-study interview that was used to collect demographic information and give an impression of the participant’s usage of technology, amongst other factors. In the interview, questions that were intended to stimulate the discussion of stories from the participant’s past and present life. The first two sessions then included conversations about stories meaningful to the participant, encouraging them to think about what story they would want to follow and develop more in-depth. Sessions after that were used to create digital stories and lastly, the participants could share their stories with a larger audience, friends and family included. (Park, 2017, 5)

The discussed outcome of the study suggest an overall beneficial experience with a positive impact on the participants.These preliminary results from the study’s first site were in line with what the literature on the topic suggested in terms of positive developments in the relationship between the participants and their caregivers, as well as increased communication abilities and interactions. Generally, it can be said that topics emerging from the analysis of the data were continuously linked to engagement: the process, the stories as well as the relationships with care partners and the project’s facilitators all proved to be engaging for the participants. The usage of technology was, at times, challenging, as participants were, for example, uncomfortable using the equipment without support. (Park, 2017, 7-8)  Other challenges involved issues with memory and communication. Still, they were in turn appreciative of support and when asked to choose images, effects or songs that would be part of the digital story. Having the right setting with positive support from facilitators and care partners seemed to further enhance the experience for the participants and ultimately, not only the participants but also their care partners enjoyed the final product. (Park, 2017, 7-8) 

To sum up the results, it can be said that the overall outcome of the study can be considered quite positive and the authors feel like the usage of digital methods was, while challenging, still essential in allowing the participants to share their stories in a unique way. Digital storytelling is, according to the preliminary outcome, a promising tool for working with people suffering from dementia in order for them to create stories and interact with others through these stories, as well as to share and preserve them in a rewarding and meaningful way.(Park, 2017, 1, 9)

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by hannah.wasserfaller -

Story based formats in dementia treatment | Part 1: Digital Storytelling

Digital Storytelling

For this and the following blogpost there shall be a focus on the usage of digital storytelling in dementia treatment. This first part will explain the fundamentals of the concept of digital storytelling whereas the second part will concern itself with the contents of a study that applied the method in a project with persons living with dementia in order to gain a more detailed insight into possible use cases. 

As mentioned in the very first blogpost, dementia is a progressive neurological condition primarily seen in older people, including symptoms like memory loss and difficulties in managing everyday life. (Fels, 2011, 535-536) Interestingly, while people with dementia often struggle with recalling or speaking about current events, it is easier for them to access memories from their earlier lives. (Fels, 2011, 536) Alongside other methods, there is the approach of including digital storytelling into the treatment of people suffering from dementia. Findings of a 2022 literature review indicate that most commonly, digital storytelling is being used as a way of supporting a patient’s memory, identity, reminiscence and their self-confidence. (Rincon, 2022) It also indicates, however, that the level of evidence for the effectiveness in terms of improving emotional, cognitive or affective skills through digital storytelling is rather low and needs to be considered by clinicians when trying to reach certain treatment goals. 

Still, digital storytelling can be a useful tool in upholding an individual’s personality. Various studies indicate that the key factors in the usage of digital storytelling are, as was already mentioned above, the support of a person’s memory, identity, reminiscence or self-confidence and follow an approach based on personal experiences.

In order to understand how these methods are being used, it is necessary to explain the term digital storytelling and the significance of storytelling itself further. 

Storytelling in general has always been used for passing on the knowledge connected to a peoples’ history, heritage and traditions from one generation to the next, and has therefore always been a powerful technique to exchange experiences and communicate knowledge. (Smeda, 2014)

It is an important method of communication – and is also recognized as such in many fields of study such as sociology, nursing research, folklore, and communication studies –  in all of life’s stages, as sharing narratives provides people with the possibility to connect with others and convey lived experiences and events through conversation. Stories can emerge in various forms, be it myths, fictional, autobiographical or other narratives.  (Fels, 2011, 535)

With the evolution and development of digital technologies people continued to tell stories with the help of new multimedia tools, such as digital cameras, computers or editing softwares. (Smeda, 2014)

Simply put, digital storytelling happens when digital technologies are being used to create or tell stories. (Rincon, 2022)  The concept of digital storytelling emerged at the California Center for Digital Storytelling in the late 1980s as a method used by community theatre workers to record, produce and disseminate stories. Generally, there is no one definition of the term “digital storytelling”, however most explanations emphasize the usage of multimedia tools such as video, audio, animation and graphics. The association defines it as a “modern expression of the ancient art of storytelling” (The Digital Storytelling Association, 2011). A definition by Normann describes digital storytelling as “a short story, only 2–3 minutes long, where the storyteller uses his own voice to tell his own story. The personal element is emphasised, and can be linked to other people, a place, an interest or to anything that will give the story a personal touch” (Normann [2011]). 

There are also other definitions that vary in their details, such as a more technology-focused definition  by Meadows that suggests digital storytelling uses cost-effective cameras, computers and non-linear authoring tools in order to produce short multimedia stories that fulfill the social components of storytelling. (Smeda, 2014)

The process of digital storytelling involves active contribution of the individual participants who are invited to construct digital stories in the form of short movies that make use of various media technologies such as images, narration, music, or text. The content consists of personal perspectives on experiences and narratives. (Sitter, 2024, 907) It can be especially useful as a means of combining an individual’s context based experience with meaningful content. Digital storytelling is often mentioned in an educational context, as the concept has been more and more incorporated into the educational systems of the Global North such as North America and Europe. The term Global North describes societies and countries that “are developed in terms of democracy, technology, wealth, and politics.” (Sonday, 2021, 1) The usage of this format in a learning environment can foster qualities such as problem solving ability, critical thinking, collaborative skills. (Sonday, 2021, 1)

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by hannah.wasserfaller -

Topic Introduction: The Memory of Stories 

The  following and upcoming blogposts intend to dive into the topic of story-based methods and their impact on people living with dementia / Alzheimer’s disease. First steps would be to analyze the illness and both traditional and new treatment methods, as well as to explore the usage of story-based formats such as digital storytelling during treatment or/and as a tool for communication. For further understanding of the topic there shall be an explanation as to what story-based approaches are, what (digital) storytelling is, how it is currently being used and eventually it should be defined what kind of approach could be implemented for a practical application of the obtained knowledge into a real-life project. The idea is to use a story-based format as a foundation for developing a creative approach in dealing with and/or raising awareness for the topic. 

This first blogpost will briefly touch upon the topic of dementia and its subtypes in order to gain some insight into the illnesses and the symptoms connected to it.

INTRODUCTION: DEMENTIA

One of the defining processes of the 20th century was the global population aging, with its consequences continuing into the 21st century. Populations are growing even though fertility rates are falling, meaning that the world population of elderly people will overtake the number of children. (Sosa-Ortiz, 2012)

Generally, it can be said that with the population’s rising life expectancy, the rates of dementia are increasing as well. (Rincon, 2022) Globally speaking, the number of  people living with dementia is expected to rise to 82 million over the next 11 years – in 2019, the number was significantly lower, with 50 million people suffering from dementia. (World Health Organization [WHO], 2019). 

There are various types of dementia, which, according to diagnostic criteria can be divided into subtypes such as Alzheimer’s disease, fronttemporal dementia or vascular dementia. A construct frequently used to describe groups of people that are at risk of developing dementia is called mild cognitive impairment (MCI), which is especially important to recognize in order to be able to take preventative measures. (Sosa-Ortiz, 2012)

Overall „Dementia is a syndrome caused by different disorders that affect cerebral structures and functions, causing progressive deterioration of memory, other mental functions and behavior.“  (Sosa-Ortiz, 2012, 600)

Dementia is an umbrella term that includes a broad range of symptoms but it is not in itself a disease. These symptoms commonly include memory decline, changes in the ability to think, judge or reason, loss of focus and attention as well as changes in behavior and language. (Graff-Radford, 2024)  

Peoplesuffering from dementia will be impaired in their ability to perform everyday tasks, which has tremendous effects on a person’s autonomy and independence. This can be challenging for all parties involved, including the patient themselves, caregivers and families. (Sosa-Ortiz, 2012, 600-601)

Dementia can generally occur at any age, however, the risk of developing it increases with a person’s age and is more common in the demographic group of people above the age of 60. There are also other factors that can contribute to the risk of developing dementia, such as high blood pressure, diabetes, genes or smoking. (Loh, 2023)

TYPES OF DEMENTIA

Alzheimer’s disease 

Even though the terms are often used interchangeably, dementia and Alzheimer’s are not the same thing. Alzheimer’s disease is a specific brain disease marked by symptoms of dementia that gradually become more and more severe. As mentioned above, it is the most common dementia type. It affects the part of the brain responsible for learning, which is why early signs often include changes in thinking, memory and reasoning skills. With the disease progressing, also the symptoms worsen and can include behavioral changes or confusion amongst others. (Graff-Radford, 2024)
Alzheimer’s disease is thought to emerge due to abnormal protein deposits forming in the brain, disrupting the communication between the brain cells. (Loh,2023)

Vascular Dementia 

Vascular dementia is caused by a reduced blood supply of the brain due to blocked, narrow, or damaged  blood vessels, often connected to a stroke or damaged blood vessels caused by diabetes or high blood pressure. Following this diminished blood supply, the brain is deprived of oxygen and essential nutrients. It is also a common form of dementia. (Loh,2023)

Lewy body Dementia

When there is a build-up pf protein deposits called Lewy bodies it can lead to Lewy Body Dementia. As is the case with Alzheimer’s disease, the protein deposits disrupt the function of a person’s brain cells and lead to a decline of cognitive abilities and issues with movement, amongst others. Since the symptoms can be similar, Lewy body Dementia could be confused with Parkinson’s disease. (Loh,2023)

Frontotemporal Dementia

Frontotemporal dementia is caused by the progressive degeneration of nerve cells in the temporal and frontal lobes of the brain and characterized by behavioral and personality changes as well as alterations of the language abilities. It is a rare form of dementia. (Loh,2023)

Most types of dementia can not be cured, however, certain treatment methods and strategies can help with the symptoms and improve the patients’ quality of life.  (Loh, 2023)

The next blogpost will elaborate on the topic of story-based treatment methods such as digital storytelling and explain the fundamentals of the concept. 

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