Love, Death and Fascist Iconography Essay

To the fascist artist, his or her have art is merely a vessel that encapsulates his or her stimulate socially-motivated beliefs. The works of Yukio Mishima and Leni Riefenstahl, for instance, embody the essence of their individual nationalities at the height of their individual careersnationalities that might legislate origin and geography, yet extol culture, tradition, ritual and society.Mishima and Riefenstahl exhibit incredible twinism in their works. Mishima, in his presently story Patriotism, describe the human form with such full point and meticulousness reminiscent of Riefenstahls modal value in her 1930s films. Much like Riefenstahls The Last of the Nuba, the naked body is depicted as a means of fascist iconographythe body, perfect and pure in its own way, merges with a bigger association of bodies of like characteristics (Evans 31).Susan Sontags treatise on the works of Riefenstahl, Fascinating Fascism, breaks down the latters appreciation and spell of the strong and beautiful Nuba figure as examples of Nazi ideology corresponding to the idea of aesthetics for fascists. Sontag writes, Riefenstahls portrait of them evokes some of the larger themes of Nazi ideology the contrast between the clean and the impure, the incorruptible and the defiled, the visible and the mental, the joyful and the critical (par. 27).This description is echoed in Mishimas Patriotism, when the lead character Takeyama decides to commit seppukuritual suicide by disembowelmentas an act of redemption from the dishonor incurred when his comrades formed alliances with the mutineers. Mishimas imagery of Takeyama and his married woman Reikos preparations for the ritual, as well as the metaphors he uses in describing the couples physical forms conveys a fascination for perfection and beauty a la Riefenstahlremarkable symbols of fascist iconography, as Sontag would view. In its own effect, Takeyama, Reiko and the Nuba become examples of the master race, where everyone is beauti ful, strong, and does not age (Trimborn & McCown 256).Mishima and Riefenstahls works are also parallel in such that their depictions of death are detailed, beautiful and almost enthralling. In Patriotism, death in is pictured as a reward, a happy and celebrated ceremony that requires the utmost preparation. In the Nuba culture, death is a central event, along with fighting.In the Japanese culture, as evidenced by Mishimas paramount detail in describing Takeyamas death, death is a way for one to demonstrate his or her enduring committedness and nationalism to the Imperial system. Death in both Mishima and Riefenstahls works surpass lifes merriest eventsbirth, marriage, loveat times besting even life itself.Mishima writes, All around, vastly and untidily, stretched the country for which he grieved. He was to give his life for it. But would that great country, which he was prepared to remonstrate to the extent of destroying himself take the slightest wish of his death? He did not kno w and not matter (par. 63). Takeyamas examination of self not only mirrors the authors suggestions of his own death wish, it also echoes the sentiments of those under the spell of a fascist ideologytheir supposed patriotismthat converts their idea of nationhood as something not only territorial, but equally and incredibly spiritual.The young surrogate and his bride chose their own death by seppuku, which may be seen as either an honorable and extremely pricey approach, or as a self-destructive and deadly consequence of their fanaticism. Mishima unintentionally diverts the readers perplexity from this concept with his alluring illustrations of fascist ideals and concepts, again reminiscent of Riefenstahls imagery in her Nazi films. Sontag would consider it an absolute expression of fascist art, in the sense that it glorifies surrender, exalts mindlessness, and glamorizes death (par. 36). Above everything, Mishima verifies in his work and own life the burden that comes with the du ty to abide by cultural traditionduty can be all in one beautiful or ugly, life or death.Works CitedEvans, Mark. Movement information for the Modern Actor. London, UK Taylor and Francis, 2008.Mishima, Yushio. Patriotism. Trans. Geoffrey W. Sargent. Mutantfrog Travelogue. 27 June 2009. Sontag, Susan. Fascinating Fascism. University of California Santa Barbara. 27 June 2009. Trimborn, Jurgen & McCown, Edna. Leni Riefenstahl A Life. New York MacMillan, 2007.