"Afghanistan at the Asian Games Afghanistan is a member of the South Asian Zone of the Olympic Council of Asia (OCA), and has participated in the Asian Games since their inception in 1951. The Afghanistan National Olympic Committee, established in 1935 and recognised by the International Olympic Committee in 1936, is the National Olympic Committee for Afghanistan. Afghanistan was one of the first five founding members of the Asian Games Federation on 13 February 1949, in New Delhi; the organisation was disbanded on 26 November 1981 and replaced by the Olympic Council of Asia. Afghanistan is a member of the"
"song incorporated footage from Olympia. Olympia (1938 film) Olympia is a 1938 German documentary sports film written, directed and produced by Leni Riefenstahl, documenting the 1936 Summer Olympics, held in the Olympic Stadium in Berlin, Germany. The film was released in two parts: ""Olympia 1. Teil — Fest der Völker"" (Festival of Nations) and ""Olympia 2. Teil — Fest der Schönheit"" (Festival of Beauty). It was the first documentary feature film of the Olympic Games ever made. Many advanced motion picture techniques, which later became industry standards but which were groundbreaking at the time, were employed —including unusual camera angles,"
"Olympia (1938 film) Olympia is a 1938 German documentary sports film written, directed and produced by Leni Riefenstahl, documenting the 1936 Summer Olympics, held in the Olympic Stadium in Berlin, Germany. The film was released in two parts: ""Olympia 1. Teil — Fest der Völker"" (Festival of Nations) and ""Olympia 2. Teil — Fest der Schönheit"" (Festival of Beauty). It was the first documentary feature film of the Olympic Games ever made. Many advanced motion picture techniques, which later became industry standards but which were groundbreaking at the time, were employed —including unusual camera angles, smash cuts, extreme close-ups and"
"The Wonderful Horrible Life of Leni Riefenstahl The Wonderful, Horrible Life of Leni Riefenstahl () is a 1993 German documentary film about the life of German film director Leni Riefenstahl, directed by Ray Müller. Riefenstahl was best known for her documentary film ""Olympia"" (1938), on the 1936 Summer Olympics in Berlin and her Nazi propaganda films, ""Der Sieg des Glaubens"" (1933), ""Triumph of the Will"" (1935), and ""Tag der Freiheit"" (1935), which are regarded by historians as among the greatest propaganda films of all time. The United States release of this film, in 1993, coincided with the publication of Riefenstahl's"
"at the International Emmy Awards in 1993, for Arts Documentary. Ray Müller won the Golden Space Needle Award for best documentary at the Seattle International Film Festival in 1994. The film is consistently found on “best documentary” lists. In Germany, the Emmy win was rarely mentioned. The Wonderful Horrible Life of Leni Riefenstahl The Wonderful, Horrible Life of Leni Riefenstahl () is a 1993 German documentary film about the life of German film director Leni Riefenstahl, directed by Ray Müller. Riefenstahl was best known for her documentary film ""Olympia"" (1938), on the 1936 Summer Olympics in Berlin and her Nazi"
"relatively unheard of at the time, but Leni’s use and augmentation of them set a standard, and is the reason why they are still used to this day. Riefenstahl's work on ""Olympia"" has been cited as a major influence in modern sports photography. Riefenstahl filmed competitors of all races, including African-American Jesse Owens in what later became famous footage. ""Olympia"" premiered for Hitler's 49th birthday in 1938. Its international debut led Riefenstahl to embark on an American publicity tour in an attempt to secure commercial release. In February 1937, Riefenstahl enthusiastically told a reporter for the ""Detroit News"", ""To me,"
"the Olympics with colorful posters and athletic imagery, drawing a link between Nazi Germany and ancient Greece. Leni Reifenstahl, the film maker behind ""Triumph of the Will"" (1934), was employed and created a controversial documentary titled ""Olympia"" (1938) about the Summer Games. Elaborate plans were created and constructed, including a new stadium as well as a state-of-the-art Olympic Village. Hitler placed the full resources of the state behind the Olympic preparations. Goebbels and the Nazi regime covered up their violent, racist policies throughout the Games by removing anti-Semitic signs and toning back rhetoric of newspapers. Orders were made to allow"
"aided by Greek photographer Nelly's. This material became ""Olympia"", a hugely successful film which has since been widely noted for its technical and aesthetic achievements. ""Olympia"" was secretly funded by the Third Reich. She was one of the first filmmakers to use tracking shots in a documentary, placing a camera on rails to follow the athletes' movement. The film is also noted for its slow motion shots. Riefenstahl played with the idea of slow motion, underwater diving shots, extremely high and low shooting angles, panoramic aerial shots, and tracking system shots for allowing fast action. Many of these shots were"
"writing to the American that while he did not desire the persecution of the Jews, as an ""intelligent and unscrupulous"" people, ""they had to be kept within certain limits"". Brundage wrote to a German correspondent regretting that Leni Riefenstahl's film about the Berlin Olympics, ""Olympia"", could not be commercially shown in the United States, as ""unfortunately the theaters and moving picture companies are almost all owned by Jews"". The Berlin Games had increased Brundage's admiration for Germany, and he spoke out at a speech before the German-American Bund at Madison Square Garden in October 1936, stating that ""five years ago"
"never left his seat while Morris was competing, and that the Germans thereafter offered Morris $50,000 to stay in Germany and appear in sports films, an offer Morris refused. German filmmaker and documentarian Leni Riefenstahl claimed in her memoirs that during and after the 1936 Olympics, she had an affair with Morris, which she ended because of a very disparaging report about him that was given to her by a graphologist. Riefenstahl also claimed that the affair began when, after winning the gold medal, he tore off her blouse and kissed her breasts, in front of the audience of 100,000"
"propagandistic, but generally had a political subtext and followed party lines regarding themes and content. Scripts were pre-censored. Leni Riefenstahl's ""Triumph of the Will"" (1935)—documenting the 1934 Nuremberg Rally—and ""Olympia"" (1938)—covering the 1936 Summer Olympics—pioneered techniques of camera movement and editing that influenced later films. New techniques such as telephoto lenses and cameras mounted on tracks were employed. Both films remain controversial, as their aesthetic merit is inseparable from their propagandising of National Socialist ideals. The Allied powers organised war crimes trials, beginning with the Nuremberg trials, held from November 1945 to October 1946, of 23 top Nazi officials. They"
"coincided with the Greek state's need to produce an ideal view of the country and its people, for internal as well as external (tourism) purposes. In this respect Souyioultzoglou-Seraidari can be seen as the first Greek ""national"" advertiser, especially after her appointment as official photographer of the newly established Greek Ministry of Tourism. At some point she was referred to as ""the Greek Leni Riefenstahl"" because of her collaboration with the 4th of August Regime (1936-1941), of which she was one of its most prolific photographers. In 1936, she photographed the Berlin Olympic Games. In 1939, she was commissioned with"
"Leni Riefenstahl Helene Bertha Amalie ""Leni"" Riefenstahl (; 22 August 1902 – 8 September 2003) was a German film director, producer, screenwriter, editor, photographer, actress and dancer. Born in 1902, Leni Riefenstahl grew up in Germany with her brother Heinz (1905–1944), who was killed on the Eastern Front in World War II. A talented swimmer and artist, she also became interested in dancing during her childhood, taking dancing lessons and performing across Europe. After seeing a promotional poster for the 1924 film ""Der Berg des Schicksals"" (""The Mountain of Destiny""), Riefenstahl was inspired to move into acting. Between 1925 and"
"Olympics film, and he contacted Tony Maylam to direct and write the film. However, they felt that only two films had ""worked"". ""Olympia"" by Leni Riefenstahl of the 1936 Summer Olympics held in Berlin and the Kon Ichikawa film ""Tokyo Olympiad"" of the 1964 Summer Olympics held in Tokyo. Yet they decided that they didn't want the film to be a documentary, but a feature film. Tony Maylam made two music movies ""White Rock"" and """", also known as the ""Genesis Concert Movie"", which is a movie shot in concert at The Apollo Theatre, Glasgow and the New Bingley Hall,"
"placing tracking shot rails within the bleachers. The techniques employed are almost universally admired, but the film is controversial due to its political context. Nevertheless, the film appears on many lists of the greatest films of all time, including ""Time"" magazine's ""All-Time 100 Movies."" ""Olympia"" set the precedent for future films documenting and glorifying the Olympic Games, particularly the Summer Games. The 1936 Summer Olympics torch relay was devised by the German sports official Dr. Carl Diem for these Olympic Games in Berlin. Riefenstahl later staged the torch relay for this film, with competitive events of the Games. ""Olympia"" was"
"and 300 microphones). While the Olympic flame had been used for the first time in Amsterdam 1928, in Berlin 1936 a marathon-like tour of the Olympic torch was introduced, from Olympia in Greece, crossing six frontiers with a journey of to Berlin, through Greece, Bulgaria, Yugoslavia, Hungary, Czechoslovakia, Austria and Germany. The original idea of this Olympic torch relay was Carl Diem's, who was a political advisor to Propaganda Minister Joseph Goebbels, specialising in Olympic affairs. The Olympics were the subject of the propaganda film ""Olympia"" (1938) by Leni Riefenstahl. Among the sport competitions, one of the most memorable events"
"Great Depression, which contributed to the low number of competitors (the fewest since the St. Louis games). The 1936 Berlin Games were seen by the German government as a golden opportunity to promote their ideology. The ruling Nazi Party commissioned film-maker Leni Riefenstahl to film the games. The result, ""Olympia"", was widely considered to be a masterpiece, despite Hitler's theories of Aryan racial superiority being repeatedly shown up by ""non-Aryan"" athletes. In particular, African-American sprinter and long jumper Jesse Owens won four gold medals. The 1936 Berlin Games also saw the reintroduction of the Torch Relay. Due to World War"
"A slightly abbreviated version of the Olympische Hymne can be heard on the soundtrack to the closing sequence of part 1 of Leni Riefenstahl's Olympia, the film of the 1936 Olympics. (It follows the Marathon sequence.) Olympische Hymne Olympische Hymne (Olympic Hymn) is a composition for orchestra and mixed chorus by Richard Strauss. In 1932, Richard Strauss was approached by Dr. Theodor Lewald, the German Olympic Committee’s representative to the International Olympic Committee (IOC). The German committee desired an anthem composed for the 1936 Summer Olympics to be held in Berlin. Early in 1933, Strauss agreed to compose an Olympic"
"an Aryan forerunner of the modern German Reich. The event was designed to demonstrate the growing influence and power of the Third Reich. It was internationally viewed as a great success, sufficient for it to be replicated in all Games thereafter. Leni Riefenstahl, a film-maker admired by Hitler, filmed the relay for the 1938 release ""Olympia"". While the film is often seen as a prime example of Nazi propaganda, it has also been hailed as one of the greatest films of all time and won many awards upon its release. Sculptor Walter Lemcke designed the 27 cm wood and metal"
"designated sites of the Games, had no ancient precedent and was introduced by Carl Diem at the 1936 Summer Olympics in Berlin which were organized by the Nazis under the guidance of Joseph Goebbels. At the first Olympic torch relay, the flame was transported from Olympia to Berlin over 3,187 kilometres by 3,331 runners in twelve days and eleven nights. There were minor protests in Yugoslavia and Czechoslovakia on the way, which were suppressed by the local security forces. Leni Riefenstahl later staged the torch relay for the 1938 film ""Olympia"". The Olympic fire is ignited several months before the"
"""Olympia"", Riefenstahl began work on the movie she had tried and failed to direct once before, namely ""Tiefland"". On Hitler's direct order, the German government paid her seven million ""Reichsmarks"" in compensation. From 23 September until 13 November 1940, she filmed in Krün near Mittenwald. The extras playing Spanish women and farmers were drawn from gypsies detained in a camp at Salzburg-Maxglan who were forced to work with her. Filming at the Babelsberg Studios near Berlin began 18 months later in April 1942. This time Sinti and Roma people from the Marzahn detention camp near Berlin were compelled to work"
"the Olympic torch relay between Greece and the host nation. The 1936 Summer Olympics torch relay was the first of its kind, following on from the reintroduction of the Olympic Flame at the 1928 Games. It pioneered the modern convention of moving the flame via a relay system from Greece to the Olympic venue. Leni Riefenstahl filmed the relay for the 1938 film ""Olympia"". The games were the first to have live television coverage. The German Post Office, using equipment from Telefunken, broadcast over 70 hours of coverage to special viewing rooms throughout Berlin and Potsdam and a few private"
"ran the film department under Goebbels. ""The Eternal Jew"" purported to be a documentary depicting the Jewish world, insinuating that the Jewish population consisted of avaricious barbarians putting on a front for civilized European society, remaining indifferent and unaffected by the war. During this time Leni Riefenstahl, a filmmaker working in Nazi Germany, created one of the best-known propaganda films, ""Triumph of the Will"", a film commissioned by Hitler to chronicle the 1934 Nazi Party rally in Nuremberg. Despite its controversial subject, the film is still recognized for its revolutionary approach to using music and cinematography. Another of Riefenstahl's films,"
"sequence could be seen in prints of the film circulated by the collector Raymond Rohauer.) The film had an immensely strong reaction in Germany and was received with acclaim and accolades around the world. In 1960, Riefenstahl's peers voted ""Olympia"" one of the 10 best films of all time. ""The Daily Telegraph"" recognised the film as ""even more technically dazzling"" than ""Triumph of the Will"". ""The Times"" described the film as ""visually ravishing ... A number of sequences in the supposedly documentary Olympia, notably that devoted to the high-diving competition, become less and less concerned with record and more and"
"made during the same event by Leni Riefenstahl for her film ""Olympia""), a number of Nuremberg Rallies, or official state visits (such as Benito Mussolini's) were shot directly on 35mm instead and transmitted over the air as a television signal, with only a two minutes' delay from the original event, by means of the so-called ""Zwischenfilmverfahren"" (see intermediate film system) from an early outside broadcast van on the site. According to a 1949 film produced by RCA, silent films had been made of early experimental telecasts during the 1930s. The films were produced by aiming a camera at television monitors"
"was a spectator at the 1960 Summer Olympics in Rome when Boston took the gold medal in the long jump. The long-jump victory is documented, along with many other 1936 events, in the 1938 film ""Olympia"" by Leni Riefenstahl. On August 1, 1936, Hitler shook hands with the German victors only and then left the stadium. International Olympic Committee president Henri de Baillet-Latour insisted that Hitler greet every medalist or none at all. Hitler opted for the latter and skipped all further medal presentations. Owens first competed on Day 2 (August 2), running in the first (10:30 a.m.) and second"
"1936 Summer Olympics torch relay The 1936 Summer Olympics torch relay was the first of its kind, following on from the reintroduction of the Olympic Flame at the 1928 Games. It pioneered the modern convention of moving the flame via a relay system from Greece to the Olympic venue. Leni Riefenstahl filmed the relay for the award-winning but controversial 1938 film ""Olympia"". The Olympic flame was introduced to the modern Games in 1928 when it burnt atop a pillar above the stadium in Amsterdam. Four years later the same was repeated in Los Angeles. At both of these events the"
"1929, she starred in five successful motion pictures. In 1932, Riefenstahl decided to try directing with her own film called ""Das Blaue Licht"" (""The Blue Light""). In the 1930s, she directed ""Triumph des Willens"" (""Triumph of the Will"") and ""Olympia"", resulting in worldwide attention and acclaim. The movies are widely considered two of the most effective, and technically innovative, propaganda films ever made. Her involvement in ""Triumph des Willens"", however, significantly damaged her career and reputation after the war. The exact nature of her relationship with Nazi Party leader Adolf Hitler remains a matter of debate. However, Hitler was in"
"The film was released in the United States by American International Pictures, Pan-World Film Exchange and Jack Douglas Enterprises with an English narration. It was released on 20 October 1965 with a 93-minute runtime. The film was reissued in 1984 by Janus Films and Night Kitchen, Inc. with English subtitles at a 169-minute runtime. The film is held in very high regard and is seen, alongside Leni Riefenstahl's ""Olympia"", as one of the best films about the Olympics and one of the best sports documentaries of all time. Based on 11 reviews collected by the film review aggregator Rotten Tomatoes,"
"To make her sympathetic portrayal acceptable to an American audience, the film dramatizes her quarrels with Goebbels over her direction of the film, ""Olympia"", especially about filming the African American star who is proving to be a politically embarrassing refutation of Nazi Germany's claims of Aryan athletic supremacy. Riefenstahl was referred to in the series finale of the television show ""Weeds"" when Nancy questions Andy for naming his daughter after a Nazi to which he replied ""she was a pioneer in film-making, I don't believe in holding grudges."" In the 2016 short film ""Leni. Leni."", based on the play by"
"Code, though some did create controversy. The 1931 Greek film ""Daphnis and Chloe"" by Orestis Laskos featured the first nude scene in a European fiction film, showing Chloe bathing in a fountain. Gustav Machatý's ""Extase"" (1933) with Hedy Lamarr was condemned by Pope Pius XI. It was very controversial on its release in the United States and is credited with contributing to the repressive regime under the Hays Code. Leni Riefenstahl's ""Olympia"" (1938), which was produced as Nazi propaganda and a documentary of the 1936 Summer Olympics held in Berlin, has an opening sequence noted for its idealized, non-exploitive use"
"to the Federal Republic of Germany, and anything relating to film business was to be managed by Transit Film GmbH. In 1996, the film was restored to copyright under the 1994 Uruguay Round Agreements Act. Since the death of Leni Riefenstahl the federally owned Transit Film GmbH holds the exclusive right of use to all rights of the film. The respective contractual agreements had previously provided, to a certain extent, for the joint management of rights. Triumph of the Will Triumph of the Will () is a 1935 Nazi propaganda film directed, produced, edited, and co-written by Leni Riefenstahl. It"
"The Summer Olympic Games of 1936 in Berlin became a milestone for audiovisual technology and Bruch was able to field test the first Iconoscope camera, developed by Emil Mechau based on a tube by . One year later, at the Paris International Exposition, he introduced an iconoscope television unit that he had designed. During World War II he operated a closed-circuit television system installed at the Peenemünde launch site, so that the V-2 rocket launches could be watched at a safe distance from a bunker. In 1950 Telefunken commissioned him to develop the first post-war television receivers. Some time later,"