Putting aside politics, from a purely artistic point of view, there is really nothing particularly remarkable about it, its aesthetic shock It often comes from the spectacle and shock of the parade itself, rather than from the special film rhythm or montage effect. I think with the same technical conditions, Eisenstein will undoubtedly produce more amazing works. Personally, compared with "Triumph of the Will", "Olympia" is an improvement.
People often study "Triumph of the Will" as a propaganda film model or Nazi Germany's video material, but ignore its connection with the "city symphony" film genre that became popular in the early 1930s. Approaching Nuremberg from the air at the beginning of the film is reminiscent of Jean Viggo's View of Nice. Approaching the city from the air, train, and ship is the usual motif of the urban symphony; the city wakes up in the morning and cleans it, too.
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