The 1936 Olympics in Nazi Germany’s Berlin were the first olympic games to be seriously documented on camera with Leni Riefenstahl’s Olympia (1938). The games were split into two parts: Olympia 1. Teil — Fest der Völker (Festival of Nations) and Olympia 2. Teil — Fest der Schönheit (Festival of Beauty). Part I runs 126 minutes and Riefenstahl makes great use of those 126 minutes.
Starting with a visual overture of dolly and pan shots of roman architecture and statues, extreme closeups of the statues sets the focus of the film, a showcase or the study of the human figure. The statues dissolve into a german male mimicking the statue’s position juxtaposing the once great power of Rome and the then great power of the Third Reich. Perhaps telling that Nazi Germany is a continuation of or the next Rome. Riefenstahl did not just turn out a documentary about the games, but produced a piece of cinematic art. With the use of the camera Riefenstahl adds even more drama and excitement to the events taking place. Riefenstahl breaks the would be boring and repetitive nature of showing athlete after athlete competing with different camera angles or effects. One thrower …show more content…
Closeups of the human figures getting set in their blocks, focusing on their legs or arms during the Women’s 80m hurdles, Men’s 110m hurdles and 100m dash, shows the focus being the human figure as the object of study. Rather than focusing on the individual or personal side of each athlete, Riefenstahl focuses on the actions of the humans. However, there is a few examples of breaking this stance one of which is the highlighting of Jesse Owens. The film Showcases Owens’ successes in the 100m dash, long jump, 200m dash, and the 4x100m relay. By giving Owen that screen time and focus, Riefenstahl acknowledges Owens as an individual representing a country rather than a human figure without
Starting with a visual overture of dolly and pan shots of roman architecture and statues, extreme closeups of the statues sets the focus of the film, a showcase or the study of the human figure. The statues dissolve into a german male mimicking the statue’s position juxtaposing the once great power of Rome and the then great power of the Third Reich. Perhaps telling that Nazi Germany is a continuation of or the next Rome. Riefenstahl did not just turn out a documentary about the games, but produced a piece of cinematic art. With the use of the camera Riefenstahl adds even more drama and excitement to the events taking place. Riefenstahl breaks the would be boring and repetitive nature of showing athlete after athlete competing with different camera angles or effects. One thrower …show more content…
Closeups of the human figures getting set in their blocks, focusing on their legs or arms during the Women’s 80m hurdles, Men’s 110m hurdles and 100m dash, shows the focus being the human figure as the object of study. Rather than focusing on the individual or personal side of each athlete, Riefenstahl focuses on the actions of the humans. However, there is a few examples of breaking this stance one of which is the highlighting of Jesse Owens. The film Showcases Owens’ successes in the 100m dash, long jump, 200m dash, and the 4x100m relay. By giving Owen that screen time and focus, Riefenstahl acknowledges Owens as an individual representing a country rather than a human figure without