Leni_Riefenstahl

Assessment Task 4 Part A – ESSAY Personality Study – Leni Riefenstahl TASK: Assess the contribution of Leni Riefenstahl's life to the period in which she lived. Note: You must use and refer to evidence in the body of your work to support your argument. Length: Maximum 1500 words, minimum 1000 words (not including bibliography). Presents a clear, well structure account which answers the question and is supported by relevant and accurate historical information. Demonstrates a knowledge of terms and concepts appropriate to the area of study. Plans a historical investigation, demonstrating thorough analysis and synthesis of a broad range of issues. Demonstrates excellence references skills, including footnoting and bibliography Uses planning and review strategies to effective manage the competing demands of complex tasks through wise use of time and resources. Assess the contribution of Leni Riefenstahl's life to the period in which she lived. During Leni Riefenstahl’s life she did much artistic work, ranging from dancing to directing. Much of her work contributed to the field in which she worked, however this varied from each period of time in which she lived. Her live can be divided up into 3 main sections: Childhood (1902-1918), The Weimar Republic (1918-1933), The Nazi Era (1933-1939), World War 2 (1939-1945) and Post World War 2 (1945-2003). Within each period Leni Riefenstahl was active in her artistic work, some works had greater impacts than others and each contributed to an extent to the period. What led to Leni Riefenstahl’s work leading to differing contribution was the amount of recognition the work received. According to this, it is the Nazi Era and the Post World War 2 periods were Leni Riefenstahl contributed the most valuable and well known work. The contribution during her childhood (1902-1918) was not incredible; more a less developing skills that she would later use in life, such as her ambition. Leni Riefenstahl did however make great contributions to the German film industry during the Weimar Republic period. Leni Riefenstahl grew up comfortably, in a middle class family; in her memoirs she does not mention any hardships during 1918-1919. Her father Alfred Riefenstahl managed a successful heating, ventilation and plumbing business. Her Alfred forbid her to participate in gymnastics and dance, however she did so without his knowledge. The fact that Leni Riefenstahl deliberately disobeyed her father outlines her iconoclastic and feminist nature. Leni Riefenstahl’s contribution during the Weimar Republic period (1918-1933) was definitely more considerable as she was able to start her dancing career and eventually her acting and directing career. Leni Riefenstahl’s obsession with dancing can be attributed to the culture of the Weimar period, in which dancing was an important part of. Through dance Leni Riefenstahl was able to contribute to the Expressionist Movement and The Cult of the Body Movement. However it noted that Riefenstahl’s dance career may have been exaggerated by her. Although we may not know the exact contribution of Riefenstahl’s dancing career, it is surely known that it leaded her into a more prominent industry i.e. the German film industry. During a performance in Prague (June 1924) Leni Riefenstahl tore a ligament in her knee, this ultimately meant the end of her dancing career. Leni Riefenstahl’s first appearance as an actor was in the film ‘Ways to Strength and Beauty (1925)’, this film promoted the Cult of the Body movement through its endorsement of fitness and physical beauty. However Leni Riefenstahl’s career in film was dramatically furthered after viewing Arnold Frank’s ‘Mountain of Destiny (1924)’, Leni Riefenstahl was so impacted by the film that she approached Arnold Frank to become an actor in his next film; Arnold Frank was impressed and ‘immediately wrote a film script for her’. This led to the first significant film for Leni Riefenstahl as an actor; the film ‘The Holy Mountain (1926)’. During the disturbed shooting of the film Leni Riefenstahl learnt editing, developing and printing film; these skills would prove very useful for her. Leni Riefenstahl later acted in many other films during this period: ‘The Great Leap (1927)’, ‘Fate of the House of Habsburg (1928)’, ‘The White Hell of Pitz Palu (1929)’, ‘Storm over Mont Blanc (1930)’, ‘The White Flame (1931) and SOS Iceberg (1933). The next significant film for Leni Riefenstahl was ‘The Blue Light (1932)’, in which she both directed and acted; (she would also later direct Mademosielle Docteur (1933)). Although during this period of Leni Riefenstahl’s life she claimed more commercial success and contributed more to the Era itself, it is best viewed that this stage is also as a stepping stone to the Nazi Era, as During this period Leni Riefenstahl learnt many valuable skills in directing through acting and eventually directing on her own. Leni Riefenstahl’s work during the Nazi Era (1933-1939) is definitely the most well known of all her work, it is a very infamous period of her life which she would be constantly questioned and interviewed over. Leni Riefenstahl and Hitler had become acquainted to each other in 1932. After she returned from tour promoting her film ‘The Blue Light’, she was persuaded by her friends to view a rally. Riefenstahl was captured by the way Hitler spoke and shortly after wrote to Hitler asking to meet him. During late August 1933 Leni Riefenstahl was called upon for a meeting with Hitler, in this meeting Riefenstahl was asked to film the Nazi’s annual Nuremburg Rally. The result of this was an hour long film featuring the rally; this film was ‘Victory of Faith (1933)’. Although this film never went into general release, it gave Leni Riefenstahl invaluable experience in filming documentary style, as opposed to a scripted film. Riefenstahl was called upon by Hitler again to film the 1934 Rally’s, although Leni Riefenstahl didn’t particularly want to take on the job she did. She accepted it, however with the request: ‘I’ll make it if you promise I’ll never again have to make a film for the Reich or you or the Party’. Leni Riefenstahl competed the filming of ‘Triumph of the Will (1935)’ with a crew of 120 and over 100 000 metres of film footage. This film is definitely the most notorious of Leni Riefenstahl’s films, as it is regarded as Nazi Propaganda. The main reasons for this film being regarded as propaganda are: it was edited in such a way that the chronological order was manipulated, certain scenes were re-shot in a studio and that Hitler was glorified throughout the film. In defence of the film Leni has stated that her work is to be viewed purely as a form of art and she also states how the film received many awards internationally before the war, but now however it is detested. ‘Triumph of the Will’ used many ground breaking film techniques for the time, this backs up Leni Riefenstahl’s argument that it should be viewed as art. However it is important to note whatever her intent of Triumph of the Will, the end result was that her film was received as Nazi propaganda as it built up the Hitler myth and therefore contributed to the Nazi Era as Nazi propaganda. ‘Triumph of the Will’ contributed to the Hitler myth through various film techniques. Leni Riefenstahl used camera angles effectively to build up and contribute to the Hitler myth; throughout ‘Triumph of the Will’ Hitler was shot from low angles, looking up upon and in others the shot was taken from above his shoulder looking at the adoring crowd. These camera angles alluded to 2 things, that Hitler is a god like figure (above all else etc) and that he is a father figure, the people are his. Through the use of mise en scene ‘Triumph of the Will’ contributed to the Hitler myth; one of example of this is when the Fuhrer is travelling in a plane to meet his people. During this scene, the plane’s shadow projects a cross over the crowd below and passes over them. This scene has many biblical allusions, the main of which can be taken from it is: Hitler is the people’s saviour and he is godlike. The first piece of criticism ‘Triumph of the Will’ received was from the Wehrmacht, that there was not enough focus on the armed forces. In response to this criticism Leni Riefenstahl created the film ‘Day of Freedom: Our Armed Forces (1935)’, this film was purely focused on the armed forces and began to show the more daring filming style she would use in later films. Leni Riefenstahl’s next film was of significant importance, in the year ‘Triumph of the Will’ was released she was asked by Olympic committee to create a feature film on the 1936 Berlin games. What was produced was ‘Olympia 1: Festival of Nations (1938)’, which is regarded as one of the greatest documentary films created. Leni Riefenstahl used many new experimental filming techniques throughout ‘Olympia 1’; many of these techniques are still used in today’s film industry. However ‘Olympia 1’ did not go without criticism, many believe that the film contained fascist aspects throughout such as the strong emphasis on physical strength and beauty of the Aryans. Leni Riefenstahl’s contribution to this period is definitely the most valuable and significant as she pioneered many new filming techniques it also contributed to the Nazi Party and Hitler Myth through her films. During WWII (1939-1945) Leni Riefenstahl did not contribute nearly as much during this period of time, although she would attempt to restart her own films she would not finish them till after the war. When the war broke out Riefenstahl and her crew went to Poland to film the armed forces fighting; however after an event involving civilian execution she left Poland abandoning her work as a war reporter. For the remainder of the war Leni Riefenstahl worked on ‘Tiefland’, which she both acted and directed. However due to complications of the war she would not finish this film. Post World War 2 (1945-2003) Leni wasn’t able to contribute much more to the film industry due to the circumstance of the period, however she was able to finish ‘Tiefland (1954)’, start photography, write international bestsellers and direct an underwater film. During the Nuremburg trials Leni Riefenstahl was classified as a ‘Nazi Sympathizer’, she claimed innocence through pleading political ignorance of the Nazis. Although Leni attempted to create other feature films she was unable to as she was constantly met with strong resistance from the public. After ‘Tiefland’ was finished Leni Riefenstahl began photography Africa and in particular the Nuba tribe (‘Tiefland’ also met strong criticism as she used gypsies as part of the cast). Her photos were published in two books ‘The Last Nuba (1974)’ and ‘People of Kau (1976)’; both of these books went on to be international best sellers and were well received. Leni Riefenstahl pursued underwater photography in her 70s; from this she produced the books ‘Coral Gardens (1978)’, ‘Wonder under Water (1990)’ and on her 100th birthday the film ‘Underwater Impressions (2002)’. ‘Underwater Impressions’ was her last film and was received with mixed responses. Leni Riefenstahl’s work to the period in which she lived was quite varied; she did a range of work: dancing, photography, directing, editing and acting. Her overall contribution was the same; varied. During the Weimar period she contributed mostly to the culture of the time (that being the Expressionist Movement, The Cult of the Body and the Mountain genre), during the Nazi era through ‘Triumph of the Will and ‘Olympia’ she was able to contribute to the Nazi State through promotion of the Hitler myth and heavily effect the film industry. Post WWII was able to partially redeem herself as an artist through amazing photographs. It was however during the Nazi era that Leni Riefenstahl was able contribute her most valuable work and also most controversial; due to its glorification of the Nazi State and the Hitler Myth. Bibliography Dennett B., Dixon S (2008). – Key Features of Modern History. Oxford University Press. Frappell S. (2002). – Individuals in Modern History. Macmillan Education Australia. Martin D. (2001) – Germany 1918-1945. Oxford University Press. Mason K J. (2003) – Republic to Reich. McGraw-Hill Australia. Bach S. (2007) – Leni - The Life and Work of Leni Riefenstahl. Alfred Knopf. Webb K. (2008) – Leni Riefenstahl 1902-2003. Broadbridge D. Websites: (10 Sep 2003). Leni Riefenstahl. Citied: 24th June. The Telegraph. (http://www.telegraph.co.uk/) Williams V. (10 September 2003). Leni Riefenstahl - Film-maker who became notorious as Hitler's propagandist. Citied: 24th June. The Independent (http://www.independent.co.uk/) Citied: 24th June. Taschen Books. (http://www.taschen.com/)