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Olympia
On August 1, 1936, in Berlin, to the sound of Hitler's opening words and hundreds of doves set aflight, the Summer Olympic Games began. Here were sixteen days of heroism, aesthetic and athletic perfection, and a triumph of determination and will - not least by the legendary artist Leni Riefenstahl.
The filmmaker and photographer was commissioned to document these spectacular games for posterity. Her film Olympia is one of the results of this experiment. The other is this volume, Olympia, a startling collection of images of athletes, of sport, and of intense drive resulting from these games.
Riefenstahl utilized innovative and ground-breaking camera angles, techniques, and styles in order to create her vision of the Olympics. Her stark realism is revealed in these shots of strength and determination. The artist presents divers, swimmers, sprinters, jumpers, vaulters, and others as specimen, the ultimate practitioners of their art forms, and by these efforts, the portraits of these men and women reach a zenith of Riefenstahl's own art.
Leni Riefenstahl's visual genius is fully evident in this remarkable collection of black and white photographs. Through her lens, we view the epitome of the beauty of athleticism, the excitement of competition, and the pressure of the political atmosphere. Olympia is a remarkable record of human idealism, Olympic excellence, and photographic skill.
The filmmaker and photographer was commissioned to document these spectacular games for posterity. Her film Olympia is one of the results of this experiment. The other is this volume, Olympia, a startling collection of images of athletes, of sport, and of intense drive resulting from these games.
Riefenstahl utilized innovative and ground-breaking camera angles, techniques, and styles in order to create her vision of the Olympics. Her stark realism is revealed in these shots of strength and determination. The artist presents divers, swimmers, sprinters, jumpers, vaulters, and others as specimen, the ultimate practitioners of their art forms, and by these efforts, the portraits of these men and women reach a zenith of Riefenstahl's own art.
Leni Riefenstahl's visual genius is fully evident in this remarkable collection of black and white photographs. Through her lens, we view the epitome of the beauty of athleticism, the excitement of competition, and the pressure of the political atmosphere. Olympia is a remarkable record of human idealism, Olympic excellence, and photographic skill.
287 pages, Hardcover
First published October 1, 1994
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About the author
Leni Riefenstahl
26 books22 followersHelene Bertha Amalie "Leni" Riefenstahl (German pronunciation: [ˈʁiːfənʃtaːl]; 22 August 1902 – 8 September 2003) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker. Her most famous film was Triumph des Willens (Triumph of the Will), a propaganda film made at the 1934 Nuremberg congress of the Nazi Party. Riefenstahl's prominence in the Third Reich along with her personal friendship with Adolf Hitler thwarted her film career following Germany's defeat in World War II, after which she was arrested but released without any charges.
Triumph of the Will gave Riefenstahl instant and lasting international fame, as well as infamy. Although she directed only eight films, just two of which received significant coverage outside of Germany, Riefenstahl was widely known all her life. The propaganda value of her films made during the 1930s repels most modern commentators but many film histories cite the aesthetics as outstanding.
The Economist wrote that Triumph of the Will "sealed her reputation as the greatest female filmmaker of the 20th century".
In the 1970s Riefenstahl published her still photography of the Nuba tribes in Sudan in several books such as The Last of the Nuba. She was active up until her death and also published marine life stills and released the marine-based film Impressionen unter Wasser in 2002.
After her death, the Associated Press described Riefenstahl as an "acclaimed pioneer of film and photographic techniques". Der Tagesspiegel newspaper in Berlin noted, "Leni Riefenstahl conquered new ground in the cinema". The BBC said her documentaries "were hailed as groundbreaking film-making, pioneering techniques involving cranes, tracking rails, and many cameras working at the same time".
Triumph of the Will gave Riefenstahl instant and lasting international fame, as well as infamy. Although she directed only eight films, just two of which received significant coverage outside of Germany, Riefenstahl was widely known all her life. The propaganda value of her films made during the 1930s repels most modern commentators but many film histories cite the aesthetics as outstanding.
The Economist wrote that Triumph of the Will "sealed her reputation as the greatest female filmmaker of the 20th century".
In the 1970s Riefenstahl published her still photography of the Nuba tribes in Sudan in several books such as The Last of the Nuba. She was active up until her death and also published marine life stills and released the marine-based film Impressionen unter Wasser in 2002.
After her death, the Associated Press described Riefenstahl as an "acclaimed pioneer of film and photographic techniques". Der Tagesspiegel newspaper in Berlin noted, "Leni Riefenstahl conquered new ground in the cinema". The BBC said her documentaries "were hailed as groundbreaking film-making, pioneering techniques involving cranes, tracking rails, and many cameras working at the same time".
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Displaying 1 - 2 of 2 reviews
November 13, 2009
Miss Riefenstahl had quite an eye for aesthetics. This is a photography book that looks like everything was taken from her Olympia documentary on the 1936 Olympics in Berlin. I am a great admirer of the athletic body in its natural form. As stunning as the photographs in this are it pales in comparison to the Documentary but still this is an amazing work.
July 28, 2023
A classic . Riefenstahl mixes art and sport and the result is magnificent.
The actual work was requested by the IOC and they had strict terms about any politics in the work and Riefenstahl honored that commitment and what we have with "Olympia" is a masterpiece of photography and a tribute to the athletes that competed.
The actual work was requested by the IOC and they had strict terms about any politics in the work and Riefenstahl honored that commitment and what we have with "Olympia" is a masterpiece of photography and a tribute to the athletes that competed.
Displaying 1 - 2 of 2 reviews