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Goebbelsian logic in the modern version

2026-05-21 11:11:00, Editorial CNA

Goebbelsian logic in the modern version

One of the most disturbing elements of the way Erion Veliaj has constructed his public communication is not simply the propaganda itself, but the way in which propaganda is used to replace real debate. It is here that the memory of the classic propaganda methods associated with Joseph Goebbels arises.

This is not because Albania is a totalitarian regime, but because the technique of manipulating public perception is similar in some aspects.

Goebbelsian logic in the modern version
Joseph Goebbels

Goebbels did not rely solely on censorship. He relied on the creation of an alternative reality, where image mattered more than fact, and where the repetition of a narrative served to tire the public into accepting it. In a modern form, this logic is also visible in Veliaj's communication model. He, now and before, made a continuous bombardment with videos, chronicles, slogans, activities, selfies, artists, facades and "positive news", which create the idea of ??permanent success even when serious accusations weigh on his figure.

But the most problematic element is another one. It is related to the systematic avoidance of the essence of the accusations.

Whenever Erion Veliaj is confronted with concrete questions about corruption, tenders, clientelistic connections or the way he exercises power, the reaction rarely focuses on the facts. Instead of confronting the accusation, there is an attack on the person who raises it. The critic is labeled as an enemy, a failure, politically motivated, paid or part of a conspiracy. This is a classic propaganda technique, which operates by shifting the debate from “is the accusation true?” to “who made the accusation?”.

In this way, the public is forced to deal with the figure of the opponent and not with the substance of the issue. And this is essential in any modern propaganda, the control of emotion to avoid analysis.

Another similarity is the constant use of public spectacle. Goebbels understood that propaganda does not work only with words, but with aesthetics, emotions and symbolism. Even in the case of Erion Veliaj, politics often appears as a marketing event: camera, montage, music, artists, optimistic images and a permanent atmosphere of urban celebration. In this scenography, criticism is presented almost as an obstacle to “progress”.

This becomes even stronger when public figures, artists or well-known people are included in the support of the government, who are used as an emotional legitimizing element. The message is no longer rational, but psychological: "if these people support it, then the government must be right."

The real problem is not propaganda as a communication skill. Every politician communicates. The problem begins when propaganda replaces accountability. When image becomes more important than transparency. When a person is attacked and no arguments are provided against the accusation. When perception aims to drown out the fact.

And that's where the comparison with Goebbelsian logic comes in. So, not to the historical scale or brutality of the regime, but to the idea that control of the public narrative can be used to avoid the truth and delegitimize any criticism of the government./CNA





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