Leni Riefenstahl And olympia

It would be simple to dismiss Leni Riefenstahl's work as Nazi propaganda (Figure 3.9). Although Riefenstahl's Olympia Parts I and II (1938) are films of the 1936 Olympics held in Berlin and hosted by Adolph Hitler's Nazi government, Riefenstahl's film attempts to create a sensibility about the human form that transcends national boundaries. Using 50 camera operators and the latest lenses, Riefenstahl had at her disposal slow-motion images, microimages, and images of staggering scale. She presented footage of many of the competitions in the expected form—the competitors, the competition, the winners—but she also included numerous sequences about the training and the camaraderie of the athletes. Part II opens with an idyllic early morning run and the sauna that follows the training. Riefenstahi used no narration, only music, and she didn't focus on any individual. She focused only on the beauty of nature, including the athletes and their joy.

This principle is raised to its height in the famous diving sequence near the end of Part II. This 5-minute sequence begins with shots of the audience responding to a dive and shots of competitors from specific countries. Then Riefenstahl cuts to the mechanics of the dive. Gradually, the audience is no longer shown. Now we see one diver after another. She concentrates on the grace of the dive, then she begins to use slow motion and shows only the form and completion of the dive. The shots become increasingly abstract. We no longer know who is diving. She begins to follow in rapid succession dives from differing perspectives. The images are disorienting. She begins to fragment the dives. We see only the beginning of dives in rapid succession. Then the dives are in silhouette, and they seem like abstract forms rather than humans. Two forms replace one. She cuts from one direction to another, one abstract form to another. Are they diving into water or jumping into the air? The images become increasingly abstract, and eventually, we see only sky.

Film Making

Film Making

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