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Triumph of the Will is the film that was directed by Leni Riefenstahl in 1934, and the documentary which she has asserted to be ‘a record of the fact’ as it was, or the ‘cinema verite'. In this respect, she has consistently contended that her film was apolitical one. And it even has been granted the title of masterpiece by those who has insisted upon its formal beauty regardless of its content.
Nevertheless, its content are remarkably subjective and political for it recorded the NSDAP Party Rally at Nuremberg in 1934. Even its form become a device for support of content's politics since it contains a very political event, though it take the objective appearance.
Riefenstahl had lived on through the most political times of German history. To take into consideration that many of German film-makers were forced to receive the restriction on free activities at that time, the working settings that she had enjoyed were in themselves a privilege. Since the fall of Nazi, she has made a ceaseless effort to erase the shadow of Nazi from her career as a film-maker. She has sought to get rid of her film's political implications, highlighting the documentary form of Triumph of the Will. However, both Riefenstahl's career as a film-maker and her life illustrate well that such a premise which can distinguish between the form and content in art is a political posture in itself.
Nevertheless, its content are remarkably subjective and political for it recorded the NSDAP Party Rally at Nuremberg in 1934. Even its form become a device for support of content's politics since it contains a very political event, though it take the objective appearance.
Riefenstahl had lived on through the most political times of German history. To take into consideration that many of German film-makers were forced to receive the restriction on free activities at that time, the working settings that she had enjoyed were in themselves a privilege. Since the fall of Nazi, she has made a ceaseless effort to erase the shadow of Nazi from her career as a film-maker. She has sought to get rid of her film's political implications, highlighting the documentary form of Triumph of the Will. However, both Riefenstahl's career as a film-maker and her life illustrate well that such a premise which can distinguish between the form and content in art is a political posture in itself.
목차
Ⅰ. 머리말
Ⅱ. 텍스트로 본 ≪의지의 승리≫
Ⅲ. 당대의 맥락에서 본 ≪의지의 승리≫
Ⅳ. 후대의 맥락에서 본 ≪의지의 승리≫
Ⅴ. 맺음말
【Abstract】
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