Leni Riefenstahl's "Ballet" Olympia:
Leni Riefenstahl surprisingly described her 1936 documentary film, Triumph of the Will, as having "a balletic quality," noting the close choreography between the soundtrack, the rhythm of the shots, and the movements of the soldiers. In her next documentary, Olympia (1938), Riefenstahl act...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch Artikel |
| Sprache: | English |
| Veröffentlicht: |
2024
|
| Schlagworte: | |
| Online-Zugang: | DE-255 |
| Zusammenfassung: | Leni Riefenstahl surprisingly described her 1936 documentary film, Triumph of the Will, as having "a balletic quality," noting the close choreography between the soundtrack, the rhythm of the shots, and the movements of the soldiers. In her next documentary, Olympia (1938), Riefenstahl actually achieved this ideal, particularly in the climax of the nearly four-hour film, the men’s diving event. Without commentary, and accompanied by Herbert Windt’s music, she shows male divers framed against a clouded sky, in different degrees of slow motion that accentuate their balletic arm and leg movements. Beginning with the three-meter springboard and climaxing with the ten-meter platform dives, Windt’s soundtrack creates a reverse choreography, in that the heavily accented music is superimposed on the already existing movements of the divers. By analyzing the structure and rhythmic accents of Windt’s themes, this essay shows how the musical form corresponds to the complex rhythm of shots that produce the formal design of the film. The entire excerpt creates a musical composition with transitions and subsections, characteristic of the filmic model Riefenstahl learned from her mentor, Arnold Fanck. |
| Beschreibung: | Illustrationen |
| ISBN: | 978-1-003-35779-7 |
Internformat
MARC
| LEADER | 00000nma a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV049692622 | ||
| 003 | DE-604 | ||
| 005 | 20240529 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 240521s2024 |||| o||u| ||||||eng d | ||
| 024 | 7 | |a 10.4324/9781003357797-14 |2 doi | |
| 035 | |a (OCoLC)1437843235 | ||
| 035 | |a (DE-599)BVBBV049692622 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-255 | ||
| 100 | 1 | |a Hall, Patricia |e Verfasser |0 (DE-588)173043704 |4 aut | |
| 245 | 1 | 0 | |a Leni Riefenstahl's "Ballet" Olympia |c Patricia Hall |
| 264 | 1 | |c 2024 | |
| 300 | |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 520 | 3 | |a Leni Riefenstahl surprisingly described her 1936 documentary film, Triumph of the Will, as having "a balletic quality," noting the close choreography between the soundtrack, the rhythm of the shots, and the movements of the soldiers. In her next documentary, Olympia (1938), Riefenstahl actually achieved this ideal, particularly in the climax of the nearly four-hour film, the men’s diving event. Without commentary, and accompanied by Herbert Windt’s music, she shows male divers framed against a clouded sky, in different degrees of slow motion that accentuate their balletic arm and leg movements. Beginning with the three-meter springboard and climaxing with the ten-meter platform dives, Windt’s soundtrack creates a reverse choreography, in that the heavily accented music is superimposed on the already existing movements of the divers. By analyzing the structure and rhythmic accents of Windt’s themes, this essay shows how the musical form corresponds to the complex rhythm of shots that produce the formal design of the film. The entire excerpt creates a musical composition with transitions and subsections, characteristic of the filmic model Riefenstahl learned from her mentor, Arnold Fanck. | |
| 600 | 1 | 7 | |a Windt, Herbert |d 1894-1965 |0 (DE-588)124836178 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Riefenstahl, Leni |d 1902-2003 |0 (DE-588)118600761 |2 gnd |9 rswk-swf |
| 630 | 0 | 7 | |a Triumph des Willens |0 (DE-588)4205636-6 |2 gnd |9 rswk-swf |
| 630 | 0 | 7 | |a Olympia |g Film, 1938 |0 (DE-588)4324728-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Choreografie |0 (DE-588)4069977-8 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Ballett |0 (DE-588)4004351-4 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Riefenstahl, Leni |d 1902-2003 |0 (DE-588)118600761 |D p |
| 689 | 0 | 1 | |a Windt, Herbert |d 1894-1965 |0 (DE-588)124836178 |D p |
| 689 | 0 | 2 | |a Triumph des Willens |0 (DE-588)4205636-6 |D u |
| 689 | 0 | 3 | |a Olympia |g Film, 1938 |0 (DE-588)4324728-3 |D u |
| 689 | 0 | 4 | |a Choreografie |0 (DE-588)4069977-8 |D s |
| 689 | 0 | 5 | |a Ballett |0 (DE-588)4004351-4 |D s |
| 689 | 0 | |5 DE-604 | |
| 773 | 1 | 8 | |g pages:330-341 |
| 773 | 0 | 8 | |t Perspectives on contemporary music theory / edited by Bryan Parkhurst and Jeffrey Swinkin |d London ; New York, 2024 |g Seite 330-341 |k Routledge research in music |w (DE-604)BV049689694 |z 978-1-003-35779-7 |
| 912 | |a ebook | ||
| 940 | 1 | |q KUBA2-EK-ZDB-7-TFC | |
| 941 | |s 330-341 | ||
| 966 | e | |u https://doi.org/10.4324/9781003357797-14 |l DE-255 |p ebook |q BZI |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1805082379998461952 |
|---|---|
| adam_text | |
| any_adam_object | |
| article_link | (DE-604)BV049689694 |
| author | Hall, Patricia |
| author_GND | (DE-588)173043704 |
| author_facet | Hall, Patricia |
| author_role | aut |
| author_sort | Hall, Patricia |
| author_variant | p h ph |
| building | Verbundindex |
| bvnumber | BV049692622 |
| collection | ebook |
| ctrlnum | (OCoLC)1437843235 (DE-599)BVBBV049692622 |
| format | Electronic Article |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nma a2200000 c 4500</leader><controlfield tag="001">BV049692622</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20240529</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">240521s2024 |||| o||u| ||||||eng d</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.4324/9781003357797-14</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1437843235</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV049692622</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-255</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Hall, Patricia</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)173043704</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Leni Riefenstahl's "Ballet" Olympia</subfield><subfield code="c">Patricia Hall</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2024</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="b">Illustrationen</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">Leni Riefenstahl surprisingly described her 1936 documentary film, Triumph of the Will, as having "a balletic quality," noting the close choreography between the soundtrack, the rhythm of the shots, and the movements of the soldiers. In her next documentary, Olympia (1938), Riefenstahl actually achieved this ideal, particularly in the climax of the nearly four-hour film, the men’s diving event. Without commentary, and accompanied by Herbert Windt’s music, she shows male divers framed against a clouded sky, in different degrees of slow motion that accentuate their balletic arm and leg movements. Beginning with the three-meter springboard and climaxing with the ten-meter platform dives, Windt’s soundtrack creates a reverse choreography, in that the heavily accented music is superimposed on the already existing movements of the divers. By analyzing the structure and rhythmic accents of Windt’s themes, this essay shows how the musical form corresponds to the complex rhythm of shots that produce the formal design of the film. The entire excerpt creates a musical composition with transitions and subsections, characteristic of the filmic model Riefenstahl learned from her mentor, Arnold Fanck.</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Windt, Herbert</subfield><subfield code="d">1894-1965</subfield><subfield code="0">(DE-588)124836178</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Riefenstahl, Leni</subfield><subfield code="d">1902-2003</subfield><subfield code="0">(DE-588)118600761</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="630" ind1="0" ind2="7"><subfield code="a">Triumph des Willens</subfield><subfield code="0">(DE-588)4205636-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="630" ind1="0" ind2="7"><subfield code="a">Olympia</subfield><subfield code="g">Film, 1938</subfield><subfield code="0">(DE-588)4324728-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Choreografie</subfield><subfield code="0">(DE-588)4069977-8</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Ballett</subfield><subfield code="0">(DE-588)4004351-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Riefenstahl, Leni</subfield><subfield code="d">1902-2003</subfield><subfield code="0">(DE-588)118600761</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Windt, Herbert</subfield><subfield code="d">1894-1965</subfield><subfield code="0">(DE-588)124836178</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Triumph des Willens</subfield><subfield code="0">(DE-588)4205636-6</subfield><subfield code="D">u</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Olympia</subfield><subfield code="g">Film, 1938</subfield><subfield code="0">(DE-588)4324728-3</subfield><subfield code="D">u</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Choreografie</subfield><subfield code="0">(DE-588)4069977-8</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="5"><subfield code="a">Ballett</subfield><subfield code="0">(DE-588)4004351-4</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">pages:330-341</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="t">Perspectives on contemporary music theory / edited by Bryan Parkhurst and Jeffrey Swinkin</subfield><subfield code="d">London ; New York, 2024</subfield><subfield code="g">Seite 330-341</subfield><subfield code="k">Routledge research in music</subfield><subfield code="w">(DE-604)BV049689694</subfield><subfield code="z">978-1-003-35779-7</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ebook</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">KUBA2-EK-ZDB-7-TFC</subfield></datafield><datafield tag="941" ind1=" " ind2=" "><subfield code="s">330-341</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.4324/9781003357797-14</subfield><subfield code="l">DE-255</subfield><subfield code="p">ebook</subfield><subfield code="q">BZI</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV049692622 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-20T07:31:44Z |
| institution | BVB |
| isbn | 978-1-003-35779-7 |
| language | English |
| oclc_num | 1437843235 |
| open_access_boolean | |
| owner | DE-255 |
| owner_facet | DE-255 |
| physical | Illustrationen |
| psigel | ebook KUBA2-EK-ZDB-7-TFC ebook BZI |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| record_format | marc |
| spelling | Hall, Patricia Verfasser (DE-588)173043704 aut Leni Riefenstahl's "Ballet" Olympia Patricia Hall 2024 Illustrationen txt rdacontent c rdamedia cr rdacarrier Leni Riefenstahl surprisingly described her 1936 documentary film, Triumph of the Will, as having "a balletic quality," noting the close choreography between the soundtrack, the rhythm of the shots, and the movements of the soldiers. In her next documentary, Olympia (1938), Riefenstahl actually achieved this ideal, particularly in the climax of the nearly four-hour film, the men’s diving event. Without commentary, and accompanied by Herbert Windt’s music, she shows male divers framed against a clouded sky, in different degrees of slow motion that accentuate their balletic arm and leg movements. Beginning with the three-meter springboard and climaxing with the ten-meter platform dives, Windt’s soundtrack creates a reverse choreography, in that the heavily accented music is superimposed on the already existing movements of the divers. By analyzing the structure and rhythmic accents of Windt’s themes, this essay shows how the musical form corresponds to the complex rhythm of shots that produce the formal design of the film. The entire excerpt creates a musical composition with transitions and subsections, characteristic of the filmic model Riefenstahl learned from her mentor, Arnold Fanck. Windt, Herbert 1894-1965 (DE-588)124836178 gnd rswk-swf Riefenstahl, Leni 1902-2003 (DE-588)118600761 gnd rswk-swf Triumph des Willens (DE-588)4205636-6 gnd rswk-swf Olympia Film, 1938 (DE-588)4324728-3 gnd rswk-swf Choreografie (DE-588)4069977-8 gnd rswk-swf Ballett (DE-588)4004351-4 gnd rswk-swf Riefenstahl, Leni 1902-2003 (DE-588)118600761 p Windt, Herbert 1894-1965 (DE-588)124836178 p Triumph des Willens (DE-588)4205636-6 u Olympia Film, 1938 (DE-588)4324728-3 u Choreografie (DE-588)4069977-8 s Ballett (DE-588)4004351-4 s DE-604 pages:330-341 Perspectives on contemporary music theory / edited by Bryan Parkhurst and Jeffrey Swinkin London ; New York, 2024 Seite 330-341 Routledge research in music (DE-604)BV049689694 978-1-003-35779-7 |
| spellingShingle | Hall, Patricia Leni Riefenstahl's "Ballet" Olympia Windt, Herbert 1894-1965 (DE-588)124836178 gnd Riefenstahl, Leni 1902-2003 (DE-588)118600761 gnd Triumph des Willens (DE-588)4205636-6 gnd Olympia Film, 1938 (DE-588)4324728-3 gnd Choreografie (DE-588)4069977-8 gnd Ballett (DE-588)4004351-4 gnd |
| subject_GND | (DE-588)124836178 (DE-588)118600761 (DE-588)4205636-6 (DE-588)4324728-3 (DE-588)4069977-8 (DE-588)4004351-4 |
| title | Leni Riefenstahl's "Ballet" Olympia |
| title_auth | Leni Riefenstahl's "Ballet" Olympia |
| title_exact_search | Leni Riefenstahl's "Ballet" Olympia |
| title_full | Leni Riefenstahl's "Ballet" Olympia Patricia Hall |
| title_fullStr | Leni Riefenstahl's "Ballet" Olympia Patricia Hall |
| title_full_unstemmed | Leni Riefenstahl's "Ballet" Olympia Patricia Hall |
| title_short | Leni Riefenstahl's "Ballet" Olympia |
| title_sort | leni riefenstahl s ballet olympia |
| topic | Windt, Herbert 1894-1965 (DE-588)124836178 gnd Riefenstahl, Leni 1902-2003 (DE-588)118600761 gnd Triumph des Willens (DE-588)4205636-6 gnd Olympia Film, 1938 (DE-588)4324728-3 gnd Choreografie (DE-588)4069977-8 gnd Ballett (DE-588)4004351-4 gnd |
| topic_facet | Windt, Herbert 1894-1965 Riefenstahl, Leni 1902-2003 Triumph des Willens Olympia Film, 1938 Choreografie Ballett |
| work_keys_str_mv | AT hallpatricia leniriefenstahlsballetolympia |