Ii It tl 1 It II I, rt UM H « PP » mvil.im VD^t HART U « AHil H tH'l\t<. h I mM « »t.YI II lit"'.I > »•: l>. )« K* 6l- V li'llllir 1161.111 j>)tl, II III./ K I * IH'M'H \ I * K> li Vff:\ JAVtl AS ky vuS K V* I'I / ^ \ ^ ft I II. k K II K J 1 "i \ nullit« Hi.lllilll KÜM. Kfl\iiT tl' \ STM 1 \ "i ui'lli.lt

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I. I '"11 (. l.f.JHi I . A. l,Hkl K; \lTtHi»k«(\ X H.rttKT If H 1 rl M A % S ».II.HKI.X.« mill ■ ¡ll't.tl I I'K I. .11 IIa KUH H . 1111(11 -¡BliEiil a null »tVHNHMMIfcl ' VH^ s ill IVl'is Ml li 1; n ti |. if ¡Si

Figure 3.9 Olympia, 1938. Still provided by British Film Institute.

In 5 minutes, Riefenstahl has taken us from a realistic document of an Olympic dive (complete with an audience) to an abstract form leaping through space—graceful beauty in motion. Through the sequence, we hear only music and the splash of water as the diver hits the surface. Riefenstahl's ideas about beauty and art are brilliantly communicated in this sequence. No narration was necessary to explain the idea. Editing and music were the tools on which Riefenstahi relied.

Film Making

Film Making

If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.

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