In the article "Fascinating Fascism," Susan Sontag argues that Leni Riefenstahl's film Triumph of the Will is not "the recording of reality; 'reality' has been constructed to serve the image." Using an example from class such as Riefenstahl's film or the Exhibition of the Fascist Revolution, discuss how the visual arts have been used by fascist regimes to make political arguments based on emotion and spectacle.
