laura cleary, post 3

a) The very beginning of "Triumph Des Willens" reminds me very much of what could be a black and white melodrama or heroic tale of the 1930's. The descent of the plane from the clouds allowed me to transcend into a peaceful state where the sky and clouds are the greatest of worries. The scene gradually changes as the plan glides over Nuremberg, catching glimpses of towering Gothic architecture. We finally land and are welcomed by the exuberant cheers and applause given in Hitler's honor. What is important to note here is the perspective we have from the beginning of the film. We are flying high above the city in German skies from the eyes of an elite Nazi party member or even from those of Hitler himself. We are allowed a brief moment of empowerment possessed by a dominant figure, being Hitler. We give credit to Riefenstahl for creating this unique and timely camera shot and position that introduces the film in a very personal and eye-opening manner.
    The opening reminds me of what could be described as the second coming of Christ in the Christian religion. Hitler descends from the open and lit skies to his people who have been longing and hungering for their savior; and to many German, Hitler was just that. Their country was in dire need for some form of economic restitution and through Hitler's eloquent and empowering words, he appeared as Germany's Jesus-like figure. Hitler's appearance is recognized by the incredible applause and cheers from the German people and also by the parading music ensemble. It almost seems as if the Germans and their leaders have already won the oncoming war.
    As the film progresses we catch close up views and unique angles of Hitlers' fans and the smiles that decorate their faces. The incredible devotion of these people and their admiration for this man is made very apparent. We can imagine for a brief moment how easy it may have been for Hitler to manipulate these individuals into believing every word, even those anti-Semitic and insane, of his speeches. We also see shots of beautiful German buildings moving from their bases to their peaks. This could have been allusive, for many German viewers, of the reconstruction and prosperity Hitler would bring to their desolate country.
    You may be able to catch a sense of change in both the setting and tone as the focus moves from the cheering crowds to Hitler giving his speeches and the thousands of orderly arranged and filed soldiers that surrounded the city streets. The war that lies ahead comes closer into view and the darkness that was not at all apparent before creeps into the black and white picture.
    Where much beauty has most vividly dominated, "Triumph of the Will", there is still some eeriness that lingers. Even when I arduously attempt to separate the Nazism and its ideals from the picture, the dark underlying feeling remains. I see this film as being having supernatural qualities due to the immense gathering of individuals that almost demonstrates robotic or hypnotic qualities. This perception may contribute to the overall beauty of the artwork, in that a transcending mystical air lingers during. It is in these emotions that viewers both capture from the film and exude that "Triumph of the Will" can be regarded with such high artistic merit.
    b) I don't see any possibility of art ever apologizing, nor any need for it to in the case that it ever becomes animate.

As for Riefenstahl, I don't really see why it is important for us to question whether or not she should apologize to the group that she offended and oppressed in the past. She created a film that we have chosen to interpret in our own terms based on what the Nazi party did after she made films in their regards. "...from the real life of the people was built up a faked reality that was passed off as the genuine one; but this bastard reality, instead of being an end in itself, merely served as the set dressing for a film that was then to assume the character of authentic documentary." (Kracauer) As Devereaux agreed, Riefenstahl depicted a group whose terrible actions came after. Sontag has ridiculous views towards Riefenstahl that are furthered once we see her trying to connect Riefenstahl's film of the Nuba to fascism. Since Riefenstahl didn't apologize for her contributions made through her films during the course of her life, then questioning whether she should have now seems rather pointless. She is just as responsible as the people in the crowds cheering on Hitler in my opinion, yet no one has demanded all Germans be held responsible for those actions.