{"id":111,"date":"2008-02-14T14:06:06","date_gmt":"2008-02-14T14:06:06","guid":{"rendered":""},"modified":"2013-11-26T21:47:01","modified_gmt":"2013-11-26T21:47:01","slug":"leni-riefenstahls-olympia-brilliant-cinematography-or-nazi-propaganda","status":"publish","type":"post","link":"https:\/\/thesportjournal.org\/article\/leni-riefenstahls-olympia-brilliant-cinematography-or-nazi-propaganda\/","title":{"rendered":"Leni Riefenstahl’s “Olympia”: Brilliant Cinematography or Nazi Propaganda?"},"content":{"rendered":"
Submitted by: Robert C. Schneider and William F. Stier<\/div>\n

\u201cOlympia,\u201d arguably one of the greatest sports films ever produced, may have also been an effective propaganda tool that promoted National Socialism as a model form of government. A sports documentary capturing the 1936 Summer Olympics \u201cOlympia\u201d was directed and produced by the renowned German motion picture producer Leni Riefenstahl.<\/p>\n

<\/p>\n

On the surface, the film appears to be a very well made sports film, depicting outstanding athletic accomplishments by many individuals and teams from throughout the world. However, as Germany\u2019s intentions became clearer in the period before World War II, critics became more and more suspicious that the actual motive for producing \u201cOlympia\u201d was political promotion: Nazi propaganda. Kracauer (1947) stated, \u201cTo be sure, all Nazi films were more or less propaganda films\u2014even the mere entertainment pictures which seem to be remote from politics\u201d (p. 275). To date, no one has been able to uncover substantive evidence proving that the sole intention of producing \u201cOlympia\u201d was to create propaganda. There are, however, many hints that at least part of the German government\u2019s purpose in supporting \u201cOlympia\u201d was to promote the positive (as perceived by the Nazis) principles of National Socialism to the world.<\/p>\n

There are two parts to the film. The first part begins with a history of the Olympic games, depicting the traditions of the ancient games in the city of Olympia and continuing with portrayal of many of the field events at the 1936 Berlin games. The second part features the track and field events of the Berlin Games. \u201cOlympia\u201d was considered a documentary, but in fact it incorporated two components generally unknown in documentaries typifying that time: editing and sound. Riefenstahl\u2019s skillful editing allowed the most exciting moments to be featured and produced smooth transition between the sports events. In a most sophisticated manner, Riefenstahl also incorporated sound within the film, in the form of background music and narration. She worked tirelessly to synchronize music by distinguished film composer Herbert Windt with the moving images in the film (Riefenstahl, 1993). In those days, to attach any sort of sound to a moving picture was always difficult and often impossible, but Riefenstahl accomplished it with a flawless precision that impressed audiences and critics in Germany and abroad. All of this, in combination with innovative filming techniques, won for the film very high acclaim from some of the most respected persons in the industry (Berg-Pan, 1980; Graham, 1986; Infield, 1976; Salkeld, 1996). And even today, viewing \u201cOlympia\u201d creates the impression that one is a living part of the 1936 games; Riefenstahl\u2019s work is a far cry from the boorish nature of pre-\u201cOlympia\u201d documentaries.<\/p>\n

\u201cOlympia\u201d as Nazi Propaganda<\/p>\n

As a result of the political climate developing before World War II, \u201cOlympia\u201d became increasingly scrutinized. Produced by the same Germany about to wreak frightful havoc on the world, \u201cOlympia,\u201d it seemed, could be assumed to contain some expression of support for National Socialism. Was Riefenstahl so absorbed in her documentary work that the surrounding Nazi politics escaped her? Or was she much more politically astute than she claimed to be?<\/p>\n

Certain facts make it difficult to believe Riefenstahl could have been naive about the way of life around her: (a) her professional instincts and insights were extraordinary; (b) her political skills were such that she was able to arrange personal meetings with Hitler; and (c) in order to attain her film production goals, she carefully worked the political structures of the German film industry and the Nazi Party (Graham, 1986; Riefenstahl, 1993). From a commonsense perspective, it is difficult to be convinced that the same Riefenstahl possessed of these impressive skills could remain unaware of the larger motive manifested by Hitler and the National Socialist Party in making the film. Furthermore, Riefenstahl had various ties to international figures, meeting personally with Benito Mussolini on Hitler\u2019s behalf (Riefenstahl, 1993) and being invited to Moscow by Joseph Stalin following the release of \u201cOlympia\u201d (Hinton, 1978).<\/p>\n

Still, it would be presumptuous to accuse Riefenstahl of familiarity with the agenda and inner workings of the Nazis: No empirical evidence supports the accusation. There is much room for debate about whether Riefenstahl\u2019s intelligence and savvy (and effective application of them in her many professional endeavors) preclude her misunderstanding the situation unfolding in Nazi Germany at the time. In the absence of any real proof that Riefenstahl was even aware, truly, of the planned evils of the Nazi Party, it is very difficult to prove she had a propagandistic intent in producing \u201cOlympia.\u201d<\/p>\n

However, the question of whether the Nazis put the film to use as propaganda is quite different. The German government certainly would not have released \u201cOlympia\u201d if it had not portrayed Germany in the way the Nazi party wished to be portrayed. Nevertheless, the kind of propaganda the documentary most clearly provided is what Graham (1986) called \u201csoft\u201d or \u201csociological\u201d propaganda (p. 251). As propaganda, \u201cOlympia\u201d is less interested in blatantly indoctrinating viewers in the principles of National Socialism than in promoting a positive, even kind, image of Germany. The audience took in an exhilarating sports documentary featuring the successes of many countries\u2019 athletes. (In some cases, the film actually downplays victories of the German nation.) Viewers throughout the world were pleased to see favorite athletes featured in a positive light, and positive feeling about the film might extend by association to Germany and thus to the National Socialist Party.<\/p>\n

While official documentation ascribes \u201cOlympia\u201d to a company named Leni Riefenstahl Productions, the film\u2019s finances were in fact controlled by Paul Joseph Goebbels, the Nazi minister of propaganda (Berg-Pan, 1980). Furthermore, a frank assessment of Riefenstahl\u2019s possible complicity must not ignore her work for the National Socialist Party (prior to \u201cOlympia\u201d) making a film titled \u201cTriumph of the Will.\u201d In \u201cTriumph of the Will,\u201d the power of the National Socialist Party is clearly exhibited, and everything the German government believed good about Nazism is on display.<\/p>\n

\u201cOlympia\u201d as Documentary<\/p>\n

One of the strongest arguments for the notion that \u201cOlympia\u201d was a propaganda piece (if only in terms of sociological propaganda) is also, strangely, one of the strongest arguments for the notion that it was not a propaganda film at all. That point is the film\u2019s perceived objectivity, its seemingly unbiased representation of the athletes, the nations, and the Games in general. Experts on filmmaking at the time, as well as other critics contemporary with Riefenstahl, found great merit in \u201cOlympia.\u201d The documentary was actually voted the grand prize winner at the 1938 International Film Festival in Venice, defeating Walt Disney\u2019s \u201cSnow White and the Seven Dwarfs\u201d (Hinton, 1991).<\/p>\n

Riefenstahl would later visit Hollywood, during which trip Disney received her openly, congratulating her on what he believed to be a masterful production. By the time of her visit, anti-German sentiment in the United States had grown so large that \u201cOlympia\u201d was being boycotted, although many who were so vigorously denouncing the film had not viewed it. Disney witnessed the boycott and was aware of the popular dislike of Germany. If he had considered \u201cOlympia\u201d to in some way comprise political propaganda, it is highly unlikely he would have received Riefenstahl publicly and with genuine praise.<\/p>\n

The objectivity of \u201cOlympia\u201d perceived by so many of Riefenstahl\u2019s critics and audiences comes primarily from Riefenstahl\u2019s refusal to compromise when it came to the film\u2019s production. Her own standards trumped the wishes of others. She herself wielded control over all aspects of the film\u2019s creation (Hinton, 1991), despite frequent pressure from Goebbels\u2014during filming and editing and production generally\u2014to make modifications aligning the content with Nazi ideals. When Goebbels demanded, for example, that she acknowledge Hitler\u2019s resentment of the successful African-American athletes, Riefenstahl instead proceeded to feature gold medalists Jesse Owens and Ralph Metcalf prominently (Hinton, 1978; Infield, 1976). Her defiance lends credence to her later claim that she, at least, saw no propaganda purpose for her documentary. Riefenstahl\u2019s uncompromising ways as a producer of \u201cOlympia\u201d furthermore led to Nazi officials\u2019 criticism of the film as too artistic (Berg-Pan, 1980).<\/p>\n

Conclusion<\/p>\n

After the war had ended in Germany\u2019s defeat, de-Nazification courts refused to label Riefenstahl a Nazi (Salkeld, 1996). That makes it more difficult to label her film Nazi propaganda. Some might argue that it simply is not fair to criticize Riefenstahl and Germany for succeeding at what our film companies today continue attempting: to produce a film that pleases the widest possible audience and wins high praise and supportive reviews from film industry professionals. Such a goal during such a time, however, is evidence leading the present authors to conclude that Riefenstahl\u2019s \u201cOlympia\u201d did contribute to the Nazi movement, even if in the subtlest of ways. What\u2019s more, the documentary\u2019s effect may ultimately have been less subtle thanks to Riefenstahl\u2019s brilliant cinematography.<\/p>\n

References<\/strong><\/p>\n

    \n
  1. Berg-Pan, R., (1980) . Leni Riefenstahl. (W. French, Ed. ) . Boston: Twayne.<\/li>\n
  2. Graham, C. G., (1986) . Leni Riefenstahl and Olympia. Metuchen, NJ & London: 1986.<\/li>\n
  3. Hinton, D. B., (1978) . The films of Leni Riefenstahl. Metuchen, NJ: The Scarecrow Press, Inc.<\/li>\n
  4. Hinton, D. B., (1991) . The films of Leni Riefenstahl (2nd ed. ) . Metuchen, NJ: The Scarecrow Press, Inc.<\/li>\n
  5. Leni Riefenstahl: A memoir. (1993) . New York: St. Martin’s Press.<\/li>\n
  6. Infield, G. B., (1976) . Leni Riefenstahl: The fallen film goddess. New York: Thomas Y. Crowell.<\/li>\n
  7. Kracauer, S., (1947) . From Caligari to Hitler. Princeton, NJ: Princeton University Press.<\/li>\n
  8. Salkeld, A. (1996) . A portrait of Leni Riefenstahl. London: Random House.<\/li>\n<\/ol>\n

    Correspondence concerning this article should be addressed to
    \nRobert C. Schneider
    \nPhysical Education and Sport Department
    \nState University of New York at Brockport
    \n350 New Campus Drive
    \nBrockport, New York 14420-2914.
    \nPhone inquiries may be made at (716) 395-2587 (work)
    \nor at (716) 423-9603 (home).
    \nElectronic mail may be sent via Internet to: rschneid@brockport.edu<\/a>.<\/p><\/blockquote>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    Submitted by: Robert C. Schneider and William F. Stier<\/div>\n

    "Olympia,"
    \n arguably one of the greatest sports films ever produced, may
    \n have also been an effective propaganda tool that promoted
    \n National Socialism as a model form of government. A sports
    \n documentary of the 1936 Summer Olympics, "Olympia"
    \n was directed and produced by the renowned German motion picture
    \n producer Leni Riefenstahl.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_options":[]},"categories":[299,296],"tags":[25,37,8,33],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4btio-1N","jetpack-related-posts":[{"id":222,"url":"https:\/\/thesportjournal.org\/article\/salt-lake-city-2002-importance-of-the-cultural-programm-during-the-xix-olympic-winter-games-from-the-spectators-perspective\/","url_meta":{"origin":111,"position":0},"title":"Salt Lake City 2002: Importance of the cultural programm during the XIX. Olympic Winter Games ” from the spectators” perspective","date":"January 5, 2006","format":false,"excerpt":"Submitted by: Dr. Norbert Mueller, Dr. Manfred Messing, Dr. Holger Preuss, Michael Desch and Marc Buchwalder The XIX. Olympic Winter Games in Salt Lake City 2002 seemed to be a great success for the Salt Lake Organizing Committee (SLOC). Consequently, Research Team Olympia from the University of Mainz\/Germany had favorable\u2026","rel":"","context":"In "Contemporary Sports Issues"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":236,"url":"https:\/\/thesportjournal.org\/article\/crowd-management-past-and-contemporary-issues\/","url_meta":{"origin":111,"position":1},"title":"Crowd Management: Past and Contemporary Issues","date":"March 8, 2006","format":false,"excerpt":"Submitted by: Spiro G. 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