Analysis of Why We Fight: Prelude to War by Frank Capra
Overview
This paper analyzes Frank Capra's 1942 propaganda film 'Why We Fight: Prelude to War,' examining the cinematography, directorial approach, and character portrayal. The analysis focuses on how cinematographer Robert Flaherty's camera work, editing techniques, and Capra's directorial choices created an effective propaganda tool commissioned by the Office of War Information to educate troops and gain public support for World War II.
What this essay covers
- Introduction to the Why We Fight film series and its commission by George C. Marshall and the OWI
- Analysis of cinematography including camera angles, shots, montage, and editing techniques
- Examination of Frank Capra's directorial approach and use of propaganda elements
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Analysis of Why We Fight: Prelude to War by Frank Capra
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Why We Fight: Prelude to War Directed by Frank Capra
Why We Fight: Prelude to War is the first movie in a series of features directed by Frank Capra officially released in 1942. The series was commissioned by George C. Marshall and the Office of War Information (OWI) to educate the American troops about why they were engaging in the war. It provided background information that would assist soldiers to be focused on the battlefield, knowing that their presence is vital for the safety of their country (Veiller & Knight, 1942). Later on, the film was released to the American public to get them to support the course of the war (Bohn, 2018). This paper explores the production of the feature Why We Fight: Prelude to War, concentrating on cinematography, the work of the director Frank Capra, and the Adolf Hitler character.
The cinematography in the film is excellent, considering that it was produced in 1942 when the film technology was not yet advanced. The cinematographer of the feature film, Robert Flaherty, made excellent camera angles and movements decisions. Most of the shots in the film are close-up shots that reveal all the details in various scenes (Arsenjuk, 2018). Flaherty used long shots as establishing shots that introduce a scene. He also used long and wide shots in scenes about war to show the extent of destruction caused by bombs.