Triumph of Tragedy and Victory of Faith

The film commences with Hitler's arrival by plane in Nuremberg. Parallels can be make in the midst of Hitler's arrival through the skies and the descent of God, coming to meet his mass. This is strengthen by endless views of clouds that fill the screen. The plane's shadow moves relentlessly over the sunlit streets of Nuremberg. Shots of the townspeople in the streets, showed an awed crowd flavor expectantly toward the heavens. Our sense of perspective and reality becomes that of the townspeople, aided by the music and steady flow of the plane, so that we are not awaiting the arrival of a mere mortal but a God. The film's editing is tied to the rhythm in German anthems, with Wagnerian music playing as the plane carrying Hitler comes to earth. The music and bands reinforcing the eminence of Nuremberg are backed up with countless choreographed images of men in uniform, marching into and out of abstract shapes and patterns due to Riefenstahl's various tv camera angles. The marching men are reduced to geometrical designs, maculation the shots of ecstatic crowds with their arms outstretched to greet Hitler demonstrates Nazi hotness and obsession at its height. The Wagnerian score builds to a wild climax as Hitler takes the stand among the hysterical crowd. Purposeful spell and editing intensify this event.

The deliberate manipulation of emotion in Triumph of the Will is what lifts the film from documentary of reality and

Riefenstahl, Leni. Triumph of the Will, (film). Germany, 1935.

Documentary is not bounciness by realism alone; it offers a significant multifariousness that helps to maintain its distinction in the media industry. Because one is never instead sure that what they view on screen is pro-filmic convention or the unfolding of events as they actually transpired, it might be problematic that Triumph of the Will falls more appropriately into the socio-economic class of sensationalistic filmmaking rather than objective documentary. University of Southern California little studies Professor Curtiz Marez (2003) argues the film is false documentary.

He believe so because the film was entirely financed by the Nazi government (UFA), commission by Hitler personally, completed by all involved with right cooperation of the government, and it displays most forcefully the expression via artistic representation of the ideas espoused in Hitler's own Mein Kampf. Riefenstahl's alleged documentary is little more than a celebration of Hitler and the Nazis as the saviors of Germany and its people. This is how Hitler envisioned it and ordered it made. Riefenstahl's cinematic talents made the film fearfully powerful and credible among Germans. There is no doubt that at the height of his popularity, Hitler managed to secure unquestioned truth from Germans as a direct result of this newly sedulous form of propaganda.

After its humiliating defeat in WWI, German familiarity was characterized by devastating times including a recession that would not abate until the rise of Hitler. Triumph of the Will is goose egg if not a paean to Hitler as a extensive packer, with supreme control and enjoying the unquestioning faith of the German people. The people stand together in the film, embracing the Fuhrer, displaying a broad show of national pride that would rule German society during WWII. In the eyes of Germans, Hitler stood as the fearless leader that would lead them out of the depression and deliver them a new breeding
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