was working as a propagandist, rather than as an artist in any sense of the word. With some 30 cameras and a crew of 150, the marches, parades, speeches, and processions were orchestrated like a movie set for Riefenstahl's film. Further, this was not the first political film made by Riefenstahl for the Nazis (there was Victory of Faith, 1933), nor was it the last (Day of Freedom, 1935, and Olympia, 1938). "Anyone who defends Riefenstahl's films as documentary", Sontag states, "if documentary is to be distinguished from propaganda, is being disingenuous. In Triumph of Will, the document (the image) is no longer simply the record of reality; 'reality' has been constructed to serve the image." This is considerably different from the position she takes ten years earlier in a 1965 essay entitled "On Style," where she opposes the idea that Riefenstahl's propaganda films are purely propaganda, and writes: "To call Leni Riefenstahl's The Triumph of the Will and The Olympiad masterpieces is not to gloss over Nazi propaganda with aesthetic lenience. The Nazi propaganda is there. But something else is there, too, which we reject at our loss. Because they project the complex movements of intelligence and grace and sensuousness, these two films of Riefenstahl (unique among works of Nazi artists) transcend the categories of propaganda or even reportage. And we find ourselves—to be sure, rather uncomfortably—seeing 'Hitler' and not Hitler, the '1936 Olympics' and not the 1936 Olympics. Through Riefenstahl's genius as a film-maker, the 'content' has—let us even assume, against her intentions—come to play a purely formal role." Influences and legacy Triumph of the Will remains well known for its striking visuals. As one historian notes, "many of the most enduring images of the [Nazi] regime and its leader derive from Riefenstahl's film." Extensive excerpts of the film were used in Erwin Leiser's documentary Mein Kampf, produced in Sweden in 1960. Riefenstahl unsuccessfully sued the Swedish production company Minerva-Film for copyright violation, although she did receive forty thousand marks in compensation from German and Austrian distributors of the film. In 1942, Charles A. Ridley of the British Ministry of Information made a short propaganda film called among other names Schichlegruber - Doing the Lambeth Walk and Lambeth Walk – Nazi Style, which edited footage of Hitler and German soldiers from the film to make it appear they were marching and dancing to the song "The Lambeth Walk".