REEXAMINING THE ESTABLISHED: THE CASE OF TRIUMPH OF THE WILL

Milica Czerny Urban

doi:10.2298/FID251011007C

Authors

Milica Czerny Urban Senior Teaching Assistant, Academy of Applied Arts, University of Rijeka

DOI:

https://doi.org/10.2298/FID251011007C

Keywords:

Triumph of the Will, Leni Reifenstahl, immoral artworks, ethical criticism of art, value interaction debate, propaganda art, historical context, artistic intention, aesthetic and moral value

Abstract

This article critically reexamines Triumph of the Will and its widely accepted role as a paradigmatic example of immoral art. Although frequently cited in discussions of the interaction value debate and ethical criticism of art as an immoral artwork, the article argues that the film’s complexity undermines its suitability as a clear example of immorality in art. By discussing its immorality from various perspectives and forms of immorality (content, production, authorship), the article highlights the film’s ambiguity, especially when interpreted through different time and genre frameworks. Reexamining the Established: The Case of Triumph of the Will investigates notions of content, artistic intentions, and reliability, questioning the debate over the film’s immorality by juxtaposing propaganda, documentary, and historical context. The article offers an extensive analysis of artistic procedures, aesthetic achievements, genre determinants, and historical data, emphasizing the need to understand the complexity of the case. This extensive analysis offers a new reading of the film, noting that the film’s immorality heavily depends on background knowledge, historical distance, and audience perspective. Consequently, the article concludes that while Triumph of the Will is morally and politically troubling, the extensive investigation and interpretation tasks make its use as a foundational example in discussions of immoral art problematic and call for greater critical nuance.

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