In Leni Riefenstahl's Triumph des Willens, the ritual element is revealed not only through the documentaristic representation of the Parteitag, but also through the cinematographic representation which enhances the existing rituals and liturgies of the congress while creating new ones through shots selection and montage. An example of this is found at the end of the first narrative segment (3rd sequence), in which the symbolic passage from pre-nazi to nazi Germany is encapsulated, anticipating the enunciation of the millennial Reich. The combination of shots and music creates a liturgic context and a rite of passage, emphasising the hallowing potential of cinema.
Riti cinematografici nel Trionfo della volontà di Leni Riefenstahl
FLORIS, ANTIOCO
2012-01-01
Abstract
In Leni Riefenstahl's Triumph des Willens, the ritual element is revealed not only through the documentaristic representation of the Parteitag, but also through the cinematographic representation which enhances the existing rituals and liturgies of the congress while creating new ones through shots selection and montage. An example of this is found at the end of the first narrative segment (3rd sequence), in which the symbolic passage from pre-nazi to nazi Germany is encapsulated, anticipating the enunciation of the millennial Reich. The combination of shots and music creates a liturgic context and a rite of passage, emphasising the hallowing potential of cinema.
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