Social realist art, which dominated in the United States during the Great Depression, communicates the concerns of the masses: artists question the treatment of the poor and praise American values ​​embodied by ordinary people. . In painting, Thomas Hart Benton's murals depict extravagance juxtaposed with honest, hardworking people, questioning the actions and greed that led to the Great Depression. Benton's murals, both in subject and medium, penetrate the American political landscape, advocating ideal values ​​such as hard work and honesty. In photography, Dorothea Lange captures in flesh and blood the realities of poor workers. In his photograph Migrant Mother (1936), Lange simultaneously depicts the oppression and resilience of working-class totalitarianism in the arts of Nazi Germany. The most famous work of propaganda in favor of Nazi Germany is The Triumph of the Will, directed by Leni Riefenstahl. In the context of Nazi Germany, Triumph of the Will seems to reflect its totalitarian upbringing: it focuses its attention on supporting Hitler through bold camera angles and symmetrical images (Fiero 423). Riefenstahl's use of physical gaps and the hierarchical distinction between leader and followers are just two of the aspects of the film that set it apart from other documentaries of the period. The Triumph of the Will was monumental in that it was one of the first observational documentaries showing events such as parades, mass rallies, footage of Hitler and speeches occurring as if the camera recorded the natural course of events, without being affected by the presence. a camera or not. There is no oral commentary, only speeches by Hitler and other Nazi leaders, and this is where it differs from propaganda and documentary film. These techniques were introduced and brought together by Riefenstahl in response to a need specific to his time: that of creating a compliant political support. Although we may be diverted from the subject, we approach Riefenstahl's documentary with intrigue for his ability to. In both cases, that of the French and that of the Spanish, there is a political struggle. In the struggle for conquest, French artists and pro-Napoleonic supporters saw Napoleon as the embodiment of realized ideals and ambitions, but for those who opposed him, like Goya, heroism emerged in the same sense. Spanish nationalism shines through in Goya's The Third of May, which depicts a gruesome execution of Spaniards by the French army. This image shows the random executions of Spanish citizens resulting from Napoleon's command. The executed Spanish citizens are cast in a light of heroic glory: the centered citizen, lit in white, although on his knees, seems almost to dominate the French army; stretching out his arms in an unmistakable reference to the crucified Christ, he appears as a heroic martyr contrasting with the faceless French soldiers on the opposite side, rendered almost inhuman. Through Goya's composition and narrative, the Spanish rebels elicit both sympathy for their suffering and respect for their sacrifice in the painting. This painting was commissioned by the Spanish Provisional Government, at the suggestion of Goya, to commemorate the invasion of Spain by Napoleon's troops in 1808. At the time it was painted, the painting was considered