What was the name of a famous female directors in Nazi Germany?

I studied her for some time. . .

A rare genius is the German female directors Leni Riefenstahl (192-23) who made a documentary for the Nazis. On August 22nd, 192, Riefenstahl was born in a wealthy family in Berlin, Germany. As a teenager, she studied oil painting and ballet in an art school in Berlin. Because of her experience in dancing, she used to call herself an athlete. This girl, who loved myths since childhood, fell in love with the popular "Alpine Movies" at that time. This is a kind of German movies with original mythological color with heroes as the leading role. She not only became a smash hit because of her outstanding performance in this kind of movies, but also successfully directed a alpine movie "Blu-ray" (1932), which made Hitler become her admirer. In 1935, Hitler, who had just usurped power, summoned Riefenstahl and entrusted her to film the annual congress of the National Socialist German Workers' Party held two days later. Rivenstal threw himself into the filming before he had time to prepare. Due to many obstacles from Goebbels, the filming process was very unsatisfactory. Finally, he finished a short film called "Victory of Faith", which was silent after only one screening. In the second year, Hitler invited Riefenstahl to film the Nazi Party Congress in Nuremberg. At first, Riefenstahl was reluctant. She recommended Walter Ruthman, the director of Berlin: Metropolitan Symphony, to direct the film, but Hitler insisted on his request again and again and said to the female directors, "Give me your life for six days, and you will never work for me against your will again." Rivenstar finally agreed to his request on the condition that she would not make any films for the party in the future. In fact, apart from a short film "Freedom Day: Our Army" filmed in 1935, Rivenstar did not make any films for the Nazi Party. Rivenstar is an artist who doesn't care much about politics. When she filmed Victory of Will and Olympia, she even insisted on hiring a photographer with Jewish blood again and again, although the latter repeatedly reminded her that this was not appropriate.

Riefenstahl is a very dedicated director. After accepting Hitler's film contract, she immediately set out to form a film crew of 12 people, including 16 main photographers, their assistants and related technicians. Rivenstar has 3 cameras, 4 sound tracks and 22 cars equipped with police. On the eve of the meeting, Rifenstar arranged accommodation for the 12 people despite all unexpected difficulties, and then immediately led technicians to arrange shooting spots in Nuremberg. The 12-foot flagpole in Luipoldhain was installed in the elevator so that the photographer could rise to the top of the flagpole in a few seconds to take a prone shot. A two-story ramp was built in Hitler Square, so that the camera car could photograph the moving queue in parallel. A fire truck is on standby, and its mobile ladder is as high as 9 feet, which can send photographers to the sky at any time to sweep the roofs, monuments, parades and banners held high in Nuremberg; The main venue of the party congress was even built and arranged according to the needs of shooting. When all this was ready, Riefenstahl led her huge team into a week-long intensive filming work. From September 4 to September 1, 1934, Riefenstahl commanded photographers and various related personnel just like a war, leaving sufficient image evidence for the German nation and people all over the world at a critical historical juncture. After several months of editing, this documentary titled Victory of the Will premiered in March 1935, and was immediately hailed as a masterpiece by the Germans. Since then, it has also won the Venice Gold Award (1935) and the Paris World Expo Gold Award (1937).

Many years later, when Americans decided to take part in the world anti-fascist war, it was after watching this film that Hollywood director Frank Capra, who was invited to cheer for the war, found the idea of shooting the series "Why Fight". It is said that after watching this chilling "enemy film", his first thought was that if American soldiers could see this film, they would certainly know what they were fighting for. This shows from one side how Riffenstahl, a talented film eye, is good at capturing essential elements in historical events, even evil elements. Riefenstahl didn't create the scene for the camera lens, she just reflected all the active factors on the scene on the movie screen in line with the vocation of a recorder. This documentary does not use off-screen explanation, but lets the picture itself and the speeches and sounds collected from the scene explain the problem. Of course, this film deified Hitler as a Siegfried-style national hero, which must have subjective elements in the arrangement. However, such a false historical consciousness was a real historical force at that time, which not only represented the ideology of the Nazis, but also represented the mentality of most people in Germany. The subtitle used in Victory of the Will is the embodiment of the German people's "historical consciousness" in this period:

September 5, 1934

the 2th year after the outbreak of World War I

the 16th year after the beginning of the German misery career

the 19th month after Germany was reborn

Adolf Hitler flew to Nuremberg again < It should be said that this film had little to do with the Nazi government. Although Hitler himself maintained a consistent support attitude towards Riefenstahl, Riefenstahl did not want any official factors to get involved. She bypassed the Fuhrer and contacted the International Olympic Committee directly, and finally got the authorization and support from the International Olympic Committee. In 1939, the International Olympic Committee specially awarded Riefenstahl an "Olympic Gold Medal" in recognition of her hard work in filming this documentary. In fact, the propaganda department led by Goebbels was also filming an Olympic film at that time. They adopted an exclusive and unfriendly attitude towards the film crew of Riventhal, and even interfered with Riventhal's films, such as ordering her to delete the scenes about black athletes winning the championship, but Riventhal cleverly bypassed the censorship of the propaganda department and produced the uncensored complete version of Olympia at the premiere in 1938. As the general director and fund-raiser of this film, Rifenstar set up an "Olympia Co., Ltd." with her own shareholders. A few months before the Olympic Games, this company signed a contract with Tobis Film Company for 75, imperial marks. Together with the translation and production expenses for overseas promotion, 12 sports-related science, education and documentary films, and a large number of sports film documents, the total project funding of Olympia is 2.2 million imperial marks (about $523,81 in 1938). According to an interview with German magazine Der Spiegel in May 1952, the income after the screening of Olympia is between 7 million and 8 million imperial marks. In other words, Olympia is a self-financing project, not "taking countless money from the Nazi Party".

Olympia consists of two feature-length documentaries, and its theme is non-political. In 1958, in "The Shooting Notes of Olympia", Riefenstahl recalled that the themes she established for this film were: sports competition, the beauty of sports and the Olympic spirit. Riefenstahl said that her films should show the intense competition process, the athletes' strong physique, agile posture and their strength in the process of sports, and also reflect an Olympic spirit: the spirit of peaceful competition between countries and young people all over the world, and trace back to the occurrence and development of this spirit and its influence on the world.

This is another unprecedented shooting. Rifenstar recruited 8 photographers and photo assistants this time, and arranged 3 supply personnel at the station. Another two teams, one team went to Greece, followed the torch athletes across seven countries from there, and the other was stationed at the rowing field in Kiel, Germany. As early as a few months before the competition, Riefenstahl led a working group composed of photographers and technicians to investigate the stadium, find suitable shooting spots, experiment with various possible shooting angles, determine the film and aperture coefficients in advance, and consider various possible accidents. This is a very difficult shooting, because it has to track the high-speed movement in a few seconds, and it also has to deal with all kinds of accidents including weather and light. Rivenstar's keynote for this film is: "This film must be a documentary. Nothing can be left out, but the bottom line of the Olympic Organizing Committee is that it must not interfere with the competition. Rifenstar's shooting focuses on field and track events, which requires photographers to enter the core part of the stadium, which has always been strictly restricted in previous Olympic Games. Rivenstar felt that there were many difficulties, but she was not discouraged. She bargained with the organizing committee again and again, and finally got the minimum shooting conditions she needed:

1. Two photography trenches can be dug by jumping on the elevated side, one photography trench can be dug 5 meters behind the starting line of the 1-meter race, one photography trench can be dug at the finish line, and one film trench can be dug by the runway of the long jump;

2. Three photo towers can be built in the center of the track race, one after the starting line of the 1-meter race, and a photo track can be built after the fence of the hammer throw competition. These facilities must be dismantled immediately after use;

3. Up to six photographers can enter the center of the stadium and are not allowed to use cameras that automatically run on the track (this ban was later broken).

In addition, Rivenstar arranged planes and balloons over the gymnasium, installed fixed cameras on the boats and horseback, and installed camera tracks beside the runway. On July 2, 1936, the Olympic flame was lit in Greece. From that day on, the film crew, under the command of Riefenstahl, devoted themselves to a tense battle without a minute's slack. During the 16-day competition, the film crew shot 1.2 million feet of material, and for the remaining 18 months, Riefenstahl shut himself in the editing room and cut 1.2 million feet of film alone without an assistant director and artistic director, which not only seriously damaged her health, but also was ridiculed by people. Few people believed that it would be a successful work.

But Olympia, which lasted for three and a half hours, was a success after all. It won many awards and favorable comments. After that, Rifenstar wanted to shoot a feature film called "Penthesilea", in which she played the belligerent Amazon Queen in Greek mythology, but the sudden war interrupted her shooting plan and she didn't shoot the film until she died. After the end of World War II, Riefenstahl was put into prison because of his alleged involvement with the Nazis. In 1952, the West Berlin court made a final judgment: "Riefenstahl ... did not engage in punishable political activities in support of Nazi rule ... did not devote herself to establishing ties unrelated to her artistic career ... There was no ambiguous relationship between her and Hitler." After regaining her freedom, Riefenstahl tried to restore her status as a filmmaker, but invisible suspicion and condemnation often fell on her. In 1956, Rivenstar began her trip to Africa, where she not only "regained her life", but also began to shoot a semi-fictional documentary called "Slave Ship" to express her indignation at the modern slave trade. However, the film was delayed because of money, war, car accident, weather and other reasons. Since 1962, Rifenstar has visited the primitive tribes in the Nuba Mountains of Sudan several times for research and filming. Although she was not the first person to film them, she was the first outsider accepted by the dark-skinned Nuba people, and she was allowed to film the sacred ceremony of the Nuba people. Since 1965, the 62-year-old man began to shoot a color documentary about the Nuba people, attracted by their elegant metal posture and aesthetic lifestyle, in order to record this primitive civilization that is in the process of collapse. At the same time, Rifenstar published and exhibited some photo collections about the primitive tribes in East Africa and Nuba, such as Nuba People and Kau Nuba People, which made her once again the object of world attention. Rifenstar said that she only shoots good-looking people and good-looking things, not because she personally doesn't like sick people, but because shooting good-looking people can bring pleasure to viewers.

At the age of p>71, Riefenstahl took part in diving training, and she wanted to realize one of her old dreams: filming the underwater world. Soon, she really became an excellent underwater photographer and published two illustrated works, Coral Garden and Underwater Wonders. Since then, Riefenstahl has repeatedly traveled to the most beautiful diving area to shoot her underwater documentary. Until the age of 94, Riefenstahl still wore a diving mirror and went to the waters near Cocoa Island to shoot sharks. At the age of 97, Rifenstar decided to go to Sudan again to visit and help the Nuba people who were isolated by the war. Rivenstar hasn't seen her Nuba friends for 23 years. For this trip, she had repeated consultations with the Sudanese government and even got in touch with the rebel leader. In February 2, Rifenstar led a small photography team to Khartoum, the capital of Sudan, where, after a long wait and difficult negotiations, the authorities finally agreed to let them go to the Nuba Mountains. Thousands of Nuba people are eagerly looking forward to her arrival. There, she found that many close friends have become victims of the civil war. Just as Riefenstahl was preparing to continue to record those Nuba friends who were still alive, a new war broke out and she had to leave the Nuba Mountain area with the camera team by helicopter immediately. Another disaster befell them, and the helicopter crashed. Fortunately, no one died. A rescue plane transported Rifenstar to a German hospital, where the 9-year-old man was found to have broken ribs and injured his lungs. Despite this terrible event, the energetic old man didn't give up her plan to go to Sudan again.

On September 9th, 23, this century old man, full of ups and downs and legends, passed away safely at his home near Munich. Rivenstar's fascination with documentary cameras and her passionate working style make us have to admit that she is a film-eyed person in the sense of Wiltoff, but on the other hand, we can only say that she is an impure film-eyed person. Compared with Wiltoff's civilian films, her films are more aristocratic. She is obsessed with the "beauty" of life, but she doesn't care about the whole of life. She is good at making documentaries, but she works more like a feature film director. She refuses to admit that Victory of the Will is a propaganda film, but