The cinematic language of Triumph of the Will

FEB 10 2017

A close analysis of how Riefenstahl's 1935 film builds its effect: the arrival from the clouds, low angles that monumentalise a single figure, columns arranged as geometry, and crowds shot as one mass rather than as individuals. The film advances the party's racist ideology almost without argument, because the persuasion is carried by composition, scale and rhythm. This is the study version of the film, with the mechanics named as they appear.