The AI generated version doesn't carry the force of Hitler's oratory. It's just words, translated to a language we understand. Meh.......
I'm going to post a few videos here you might find interesting. The first is Triumph of the Will, a film about the 1934 Nuremberg rally. It's in parts; the last two have Hitler speaking. I believe this rally was held shortly after the Rohm putsch, either that or after Rohm's trial trying to beat section 175 charges.
Hitler's speech style was enough to mesemerize half a million people at this rally.
This movie is fully English captioned.
View: https://www.youtube.com/watch?v=9PClcUxNc_M&list=PLfwcUfQK9sqiwjTt9984DxP1SFUyFS20S&index=1
Comments in support:
From wiki.
The
Nuremberg rallies (officially
Reichsparteitagⓘ, meaning
Reich Party Congress) were a series of celebratory events coordinated by the
Nazi Party in
Germany. The first Nazi Nuremberg rally took place in 1923.
[1] This rally was not particularly large and did not have much impact; however, as the party grew in size, the rallies became more elaborate and featured larger crowds. They played a seminal role in
Nazi propaganda events, conveying a unified and strong Germany under Nazi control. The rallies became a national event once
Adolf Hitler rose to power in 1933, when they became annual occurrences. Once the Nazi dictatorship was firmly established, the party's propagandists began filming them for a national and international audience. Nazi filmmaker
Leni Riefenstahl produced some of her best known work including
Triumph of the Will (1934) and
The Victory of Faith (1933), both filmed at the
Nazi party rally grounds near Nuremberg.
[2] The party's 1938 Nuremberg rally celebrated the
Anschluss that occurred earlier that year.
[2] The 1939 scheduled rally was cancelled just before Germany's invasion of Poland and the Nazi regime never held another one due to the prioritization of Germany's efforts in the
Second World War.
In case anyone is doing a report and will get an F for using wiki, here are a couple of other links:
The
Nuremberg rallies (officially
Reichsparteitagⓘ, meaning
Reich Party Congress) were a series of celebratory events coordinated by the
Nazi Party in
Germany. The first Nazi Nuremberg rally took place in 1923.
[1] This rally was not particularly large and did not have much impact; however, as the party grew in size, the rallies became more elaborate and featured larger crowds. They played a seminal role in
Nazi propaganda events, conveying a unified and strong Germany under Nazi control. The rallies became a national event once
Adolf Hitler rose to power in 1933, when they became annual occurrences. Once the Nazi dictatorship was firmly established, the party's propagandists began filming them for a national and international audience. Nazi filmmaker
Leni Riefenstahl produced some of her best known work including
Triumph of the Will (1934) and
The Victory of Faith (1933), both filmed at the
Nazi party rally grounds near Nuremberg.
[2] The party's 1938 Nuremberg rally celebrated the
Anschluss that occurred earlier that year.
[2] The 1939 scheduled rally was cancelled just before Germany's invasion of Poland and the Nazi regime never held another one due to the prioritization of Germany's efforts in the
Second World War.
From the Nuremberg Museum.
Museen
museums.nuernberg.de
Nürnberg Rally, any of the massive
Nazi Party rallies held in 1923, 1927, and 1929 and annually from 1933 through 1938 in
Nürnberg (Nuremberg) in Bavaria. The rallies were primarily
propaganda events, carefully staged to reinforce party enthusiasm and to showcase the power of
National Socialism to the rest of
Germany and the world.
The first nationwide party convention was held in Munich in January 1923, but in September of the same year the site was moved to Nürnberg, whose quaint
medieval character provided an ideal backdrop for the nationalistic pageantry of the second party congress. The first truly grand-scale rally occurred in 1929 and featured most of the elements that marked all future rallies: blaring Wagnerian overtures, stirring martial songs, banners, goose-step marches, human
swastika formations, torchlight processions, bonfires, and magnificent fireworks displays.
Adolf Hitler and other Nazi leaders delivered lengthy orations. Buildings were festooned with enormous flags and Nazi insignia. The climax of the rallies was the solemn consecration of the colours, in which new flags were touched to the
Blutfahne (Blood Banner), a tattered standard said to have been steeped in the blood of those killed in Hitler’s abortive
Beer Hall Putsch of November 8–9, 1923.
The rallies usually were held in late August or September, lasted several days to a week, and drew hundreds of thousands of Party members and spectators, including hundreds of foreign journalists. The rallies included rousing speeches by the
Führer (Hitler) that were often the occasion for the announcement of new Nazi directions. For example, in 1935 the racist
Nürnberg Laws were
promulgated against the Jews.
The emotional power generated by the rallies has been preserved in films, most notably in
Leni Riefenstahl’s classic
Triumph des Willens (1935;
Triumph of the Will), which presents a carefully orchestrated version of the 1934 rally. The so-called Peace Rally was canceled for 1939 because of preparations for war against Poland.
Nürnberg Rally, any of the massive Nazi Party rallies held in 1923, 1927, and 1929 and annually from 1933 through 1938 in Nürnberg (Nuremberg) in Bavaria. The rallies were primarily propaganda events, carefully staged to reinforce party enthusiasm and to showcase the power of National Socialism to
www.britannica.com
Concerning the film:
Leni Riefenstahl's "Triumph of the Will
Leni Riefenstahl at the 1933 Party Rally.
In April 1934, Adolf Hitler orders dancer/actress/director Leni Riefenstahl (1902-2003) to make a film of the "Party Rally of Unity and Strength" that September in Nuremberg. Just a year earlier, she had made "Victory of Faith," but that Party Rally film had suffered from many shortcomings in both execution and dramaturgy. It also showed SA head Ernst Röhm almost as Hitler's equal. Röhm was murdered a year later at the Führer's command.
The "Triumph of the Will" – the title comes from Hitler himself – proves to be a perfectly executed propaganda film lasting nearly two hours. After its premiere at Berlin's UFA Palast theater on March 28, 1935, it runs in 70 German cities. The Nazi Party film distributorship uses it for political education, and also shows it in schools. Pupils' attendance is mandatory.
This masterful phantasmagoria, using new shooting techniques and unusual camera angles, takes months to edit in the studio. It will henceforth dominate visual memories of the Nazi Party Rallies, with their orchestrated masses, and promotes the party's most important political message: the ties between the Führer and his "Volk." Hitler himself appears in a third of the film. In 1945, after the end of the war, the victorious Allies will ban it from public showing.
Museen
museums.nuernberg.de
concerning the film maker:
On 20 November 1984, in the southern German city of Freiburg, two film-makers faced each other in court for the first day of a trial that was to last nearly two and a half years. The plaintiff, Leni Riefenstahl, had been Hitler’s favourite film-maker. Now 82, she showed up to court in a sheepskin coat over a beige suit, her blond hair set in a large neat perm framing a tanned face. The defendant was a striking, dark-haired 32-year-old documentary maker. Her name was Nina Gladitz, and the outcome of the trial would shape the rest of her life.
During the Nazi era, Riefenstahl had been the regime’s most skilled propagandist, directing films that continue to be both reviled for their glorification of the Third Reich and considered landmarks of early cinema for their innovations and technical mastery. Once the second world war was over, Riefenstahl sought to distance herself from the regime she had served, portraying herself as an apolitical naif whose only motivation was making the most beautiful art possible. “I don’t know what I should apologise for,” she
once said. “All my films won the top prize.”
Best of 2022 … so far: Burying Leni Riefenstahl: one woman’s lifelong crusade against Hitler’s favourite film-maker – podcast
Read more
Riefenstahl was taking Gladitz to court over claims made in Gladitz’s television documentary Time of Darkness and Silence, which had aired in 1982. In the film, members of a family of Sinti – a Romani people living mainly in Germany and Austria – had accused Riefenstahl of taking them out of Maxglan, a Nazi concentration camp near Salzburg, in September 1940, and forcing them to work as extras in her feature film
Tiefland (Lowlands). Riefenstahl would later claim that all of the Romani extras – 53 Roma and Sinti from Maxglan, and a further 78 from a camp in eastern Berlin – had survived the war. In fact, almost 100 of them are known or believed to have been gassed in Auschwitz, just a small fraction of the 220,000 to 500,000 Romani people murdered in the Holocaust. Some of the survivors insisted that Riefenstahl had promised to save them. One, Josef Reinhardt, was 13 when he was drafted as an extra. He was the trial’s key witness, and sat beside Gladitz in the courtroom every day.
Riefenstahl denied that she had visited the camp to handpick the extras, denied failing to pay them and denied having promised and subsequently failed to save them from Auschwitz. She claimed that, while making the film, she had not known of the existence of the gas chambers, nor of the fate of the Roma and Sinti. When Gladitz’s documentary was played in court on the opening day of the trial, Riefenstahl repeatedly interrupted the screening with cries of “Lies! Lies!” and “Nothing but a lie!” As her shouts echoed round the darkened courtroom, the judge, Günther Oswald, told her: “Madam, I have no other choice than to watch the film.”
While there is no doubt that Riefenstahl’s account of her own life is far from reliable, it has been hard to establish precisely what she knew about the horrors perpetrated during the Third Reich. She was the regime’s leading film propagandist for almost its entire duration, and her films included Triumph of the Will, about the Nuremberg rally, and
Olympia, a record of the 1936 Berlin Olympic Games. But, though she was a close friend of Adolf Hitler and other high-ranking Nazis, such as the fanatical antisemite Julius Streicher, Riefenstahl fiercely denied any awareness of the slaughter that took place in concentration camps. Jürgen Trimborn, author of a highly critical biography published in 2002, declared that there was “no evidence that, due to her proximity to the regime, Riefenstahl knew more than others did about the mass annihilation of the Jews. But it is obvious that, like most Germans, she knew enough to be sure that it was better not to know even more.” (Gladitz would later judge this analysis as far too generous.)
During the trial, Riefenstahl produced correspondence from one of the extras that appeared to support her account of her good relationship with them while filming Tiefland. It was accepted that they had habitually referred to her as “
Tante Leni”, or Auntie Leni. “Even if you don’t want to believe it, the Gypsies – the adults as well as the children – were our darlings,” Riefenstahl said. But the court also heard that during the day the extras were watched by two policemen, and at night they were locked up in sheds and cellars. A contract discovered by Gladitz in archives in Salzburg showed an agreement between Riefenstahl and the SS camp guard that measures would be taken against any attempts at escape.
When the trial finally reached its conclusion, in March 1987, Gladitz won on three out of four points. The judge ruled that Riefenstahl had indeed visited the Maxglan camp to choose the extras, and that they had not been paid for their work. He also overturned Riefenstahl’s description of Maxglan as a “relief and welfare camp”, stating that by definition it was a concentration camp.
A really long read more at link:
The long read: Nina Gladitz dedicated her life to proving beyond doubt the Triumph of the Will director’s complicity with the horrors of Nazism. In the end, she succeeded – but at a cost
www.theguardian.com