레니 리펜슈탈의 프로파간다 영화에 나타난 탈서사적 이미지와 화면구성 -<의지의 승리 Triumph of the Will>를 중심으로-
The Non-Narrative Images and Frame Compositions in Leni Riefenstahl's Propaganda Films -Focusing on <Triumph of the Will>
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<Triumph of the Will> is a propaganda film by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congeress in Nuremberg. This film may be one of the most controversial films in film history because of its extraordinary output and political issues. Not only gained the film a praise that it is the best documentary film in 20th century, but also a criticism that it is the propaganda, which embellishes Adolf Hitler and Nazi. The purpose of this study is to analyze the way of film directing Riefenstahl did for the film with her exceptional and powerful sense of camera angle, editing skill, and unique vision to describe the event. She even partly brought some narrative film techniques and structures to non-fiction documentary. This paper tried to analyze the aesthetics of this film without political perspectives even though it is hard to reduce the issues because the production itself was on the background of Fascism. With <Triumph of the Will>, we can find Riefenstahl's great success in terms of mythological representation of characters, creation of heroic images, editing skills by montage and rhythm, and non-narrative images with close up shots. This research also studies the way how this film dominates the audience with its montage based on 'non-indicating image theory' by Deleuze, and reconsiders the position of propaganda films in aesthetic point of view. Leni Riefenstahl clearly presented a new way of producing documentary films with <Triumph of the Will> whether it is a vicious propaganda or great piece of Arts.
Abstract
<Triumph of the Will> is a propaganda film by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congeress in Nuremberg. This film may be one of the most controversial films in film history because of its extraordinary output and political issues. Not only gained the film a praise that it is the best documentary film in 20th century, but also a criticism that it is the propaganda, which embellishes Adolf Hitler and Nazi. The purpose of this study is to analyze the way of film directing Riefenstahl did for the film with her exceptional and powerful sense of camera angle, editing skill, and unique vision to describe the event. She even partly brought some narrative film techniques and structures to non-fiction documentary. This paper tried to analyze the aesthetics of this film without political perspectives even though it is hard to reduce the issues because the production itself was on the background of Fascism. With <Triumph of the Will>, we can find Riefenstahl's great success in terms of mythological representation of characters, creation of heroic images, editing skills by montage and rhythm, and non-narrative images with close up shots. This research also studies the way how this film dominates the audience with its montage based on 'non-indicating image theory' by Deleuze, and reconsiders the position of propaganda films in aesthetic point of view. Leni Riefenstahl clearly presented a new way of producing documentary films with <Triumph of the Will> whether it is a vicious propaganda or great piece of Arts.
참고문헌 (11)
- 에드워드 버네이스, "프로파간다" (2009), 공존
- W. J. T. 미첼, "‘아이코놀로지: 이미지, 텍스트, 이데올로기" (2005), 시지락
- 박영욱, "매체, 매체예술 그리고 철학" (2008), 향연
- Audrey Salkeld, "A Portrait of Leni Riefenstahl" (1997), Pimlico
- Ken Kelman, "Propaganda as Vision: Triumph of the Will, Film Culture" (1973)
- From Caligari to Hitle, "Siegfried Kracauer", pp.1947, Siegfried Kracauer
- David B. Hinton, "The Film of Leni Riefenstahl" (1978)
- Susan Sontag, "Fascinating Fascism, The New York Review of Books" (1975)
- Ray Müller, "The Wonderful, Horrible Life of Leni Riefenstahl", ~ (1993)
- Leni Riefenstahl, "Triumph of the Will", ~ (1935)
- Leni Riefenstahl, "<Olympia>", PartⅠ(121min.), PartⅡ(96min.), 1938