The denotation of this image is a man appearing in a white light (cast from above) and is leading a group of men away from a gray, stormy place. He is holding a flag and wearing a look of conviction and determination on his face. In this particular example, there is a propagandist value with obvious connotations. The man is Hitler and he is leading the Nazis. This image is presented as a poster and serves to enforce a fascist agenda. It connotes, given the knowledge of past historical events, an image of Germany’s totalitarian leader, who committed the heinous crime of genocide.

This image is closely related to the argument Richard Dyer makes in The Light of the World. Dyer discusses the use of lighting in film and photography, and what connections metaphors of light can make, such as its connection to religion. He makes several references to biblical literature: ‘Let there be light’; ‘He was a burning and a shining light’; ‘Lighten our darkness we beseech thee oh Lord’; etc. He further elucidates by saying, “The culture of light mobilized such metaphors but also gave them a distinctive and decisive twist. The intense interest in literal light became associated with the human possibilities of knowing and spreading knowledge” (109). The poster of Hitler is imagery as propaganda with an apparent religious aspect, that being the light beaming on him from the sky (or heavens, rather). The image portrays a dark and weary world, with one man in a distinct white light. In the image, Hitler becomes a messiah figure, wielding the Nazi flag and eager to lead his people into the light and out of the darkness. By employing this technique to mobilize the German people into action, he has perverted and distorted the common conception of light representing “good” and black and darkness representing “evil”. Light is strategically placed on him, whereas all else is dark, such as the clouds, in an almost looming manner.

The image’s propagandist value is that it makes celestial suggestions and connotations, which Dyer relates to light and the placement of light upon a figure. “Heaven had been seen as a place of light since around the twelfth century. Film was quick to realise [sic] this. Following Belasco, pools of light were used for scenes of spiritual devotion and conversion” (118-19). When taken in this context, the poster further embodies Hitler as a biblical character, one there to save Germany. The light above his head makes a construction, as Dyer refers to. “The culture of light makes seeing by means and in terms of light central to the construction of the human image” (121). He also goes on to reiterate that those touched by light will apparently rule and inherit the earth, or so people believe. These suggestions and implications were displayed through various media outlets, and very much so in this particular poster.

Jessica Cotzin