20xx奧林匹亞1民族的節(jié)日經(jīng)典影評集(參考版)
2025-01-16 23:12本頁面
【正文】 。
《奧林匹亞1：民族的節(jié)日》影評(十)：Week 5
From my personal perspective of the film Olympia, Leni Riefenstahl’s focus is mainly on the beauty of human bodies, instead of the petition itself. There is undeniably an emphasis on National Socialism. Similar to Leni Riefenstahl’s Triumph of the will, the great use of mass ornament, a term puts forward by Siegfried Kracauer, showcases the “absolute superiority” and power of Hitler and the Third Reich. Indicated by Kaja Silverman in The Threshold of the Visible World, the camera serves as social apparatus, meaning “the camera/gaze here manifestly ‘a(chǎn)pprehend’ what the human eyes cannot”. (Silverman 144) But Olympia stresses more on a aesthetic aspect than a hard political propaganda.
It is a feast of lights and shadow using cinematic language at the beginning of the film. Riefenstahl uses the light as a tool to create depth and motions. Her adeptly use of travelling camera and lighting effect create a bizarre feeling as if the marble ancient Greece statues are alive and municating. The following metamorphose from statue to real human body indicates Riefenstahl’s pursuit of physical perfection in a surrealistic way. (7 min) Also, swaying female dancer moves in a pace along with the ripple and wavy field. (9 min) It is an unreal beauty of feminine versus masculine.
Another interesting sequence of shots is the depiction of marathon. The newsreel like settings along with aesthetic shots and slow motion sequences. (104 min) These unexpected and innovative angles of camera captures the physical motions of athletes and the bustling crowds and attendants. The scene provides extreme authenticity, and also aestheticism through framing on the athlete’s shadow under the sunlight, closeups of the muscular body parts and the legs and the their shadows to intensify the movements. In addition, the swaying halm somehow relates to the point of view of the athlete, which is rarely presented in an ordinary sports documentary. (107 min) Leni Riefenstahl’s unique setting of camera angle can be best represented in the scene where there is a montage of closeups of t
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