미학의 옷을 입은 프로파간다 영화의 힘 -레니 리펜슈탈의 영화≪올림피아(Olympia)≫(1938)의 경우 (The Power of the Propaganda Film glorified with the Aesthetic -the case of Leni Riefenstahl's Olympia (1938))

서지정보

· 발행기관 : 효원사학회
· 수록지 정보 : 역사와 세계 / 42권 / 165 ~ 192페이지
· 저자명 : 조원옥

초록

이 글은 영화 ≪올림피아≫를 중심에 놓고 색과 계의 관계를 다루고 있다. 예술품과 예술가 그리고 이 둘이 처한 역사적 공간과의 관계는 분리할 수 없지만, 그럼에도 이 영화의 색 곧 예술적 성취도가 뿜어내는 매력은 이에 역사성을 탈각한 명작과 고전의 지위를 부여하려고 한다. ‘아름다움이 세상을 구할 것이다’까지는 아닐 지라도 아름다움(아름다운 예술)을 보았을 때 우리는 그것이 적어도 무죄이거나 선하다고 본능적으로 믿고 구하려는 심리가 작동한다. 우선은 그러한 심리기제를 이해하고, 그럼에도 그 아래에 도사리고 있는 아름다움이 갖는 정치성이 이 글에서 다루고 지고 있다.

영어초록

This article interrogates the political power of the film by analysing Leni Riefenstahl's Olympia (1938). Olympia, the documentary film in which put Berlin Olympic of 1936, has been paid great compliments of German and World commentators and people due to its high artistry. And so, it have gained appraisals as the unpolitical art film that held on to the fairness corresponding to the spirit of Olympic. In this respect, it has compared with her previous work, the Triumph of the Will(1935), condemned to be political for treating the national convention of Nazis.
However, Berlin Olympic of 1936 was the most political in the history of modern Olympic. The Third Reich intended successfully to make use of Olympic as a political instrument. Riefenstahl actualized this intention of Nazis by making Olympia. In virtue of this film, Berlin Olympic could have been viewed to be unpolitical for a while without some doubts. Olympia was the film produced officially by Nazis that designed to embellish this political event into the unpolitical. This film was supported and benefited by Nazis from its planning stage to its making, advertisement, and distribution. In those days when was the dark age for German cineaste, Leni Riefenstahl was almost the only one beneficiary of the Third Reich.
After the World War Ⅱ, Riefenstahl had been on trial for being a movie baron of the Third Reich. In spite of controversies, she was finally granted the social pardon. She had conducted unceasingly her career as movie artist, and claimed the copyrights of her works. The people and critics did not deem her works as the vestiges of the Third Reich, and guaranteed her works to be an art. This poses the problem of art and ethics. It means that ‘lust' and ‘caution' can not be simply distinguished in dichotomous way. We are used to unconsciously yield to temptation that wish leave the ethics behind the art. But Olympia shows well the inconvenient truth that the art never can be righteous in itself.

참고자료

· 없음