Olympia Part III: Festival of Gator Football

By Grace Tucceri and Jami Zeller

Introduction

In 1935, Adolf Hitler commissioned a then-unknown Leni Riefenstahl to direct and shoot a documentary promoting the Nazi party and its ideologies. Her first feature film ever, Triumph of the Will, captured a rally held in Nuremberg from the year prior and implemented various groundbreaking techniques. By blending aerial shots, dramatic camera angles, and intense music, Riefenstahl glorified Hitler and his Nazi regime on the big screen to be watched by millions across Europe. Nevertheless, this was just the beginning of her controversial filmmaking career, for an even larger event was about to make its way to Germany for the whole world to see: the 1936 Berlin Olympics.

The first modern-day Olympic Games took place in 1896 in Athens, Greece, and a total of 14 nations participated. Since then, the scale and popularity of the Games have grown exponentially, and women's events joined the lineup beginning in the next installation held four years later. By 1936, participation by country more than tripled, for 49 countries had athletes to represent them; 3,632 men and 331 women traveled to Berlin in hopes of earning a coveted gold medal and bringing honor to their homeland.

For Adolf Hitler, the 1936 Games were nothing but a golden opportunity to preach Nazism, and that is exactly what he did. Hitler decided to continue spreading antisemitic rhetoric by banning anyone from Lithuania from the competition for being an anti-Nazi nation and prohibiting Jewish athletes from competing as well, though a few Jewish women on an Austrian swim team managed to take part in the Games. Additionally, Hitler himself officiated the opening ceremony.

The virulence of the Nazi party was not merely contained to the Olympic games themselves. Leni Riefenstahl created the films Olympia I: Festival of Nations and Olympia II: Festival of Beauty, which captured the rituals and athleticism of the Olympic games. Most notably, though, these films capture the nationalistic attitude of Nazi Germany altogether, driven by the propaganda efforts of the Nazi party. The intricate routines of the opening ceremonies and the cheering audience display how Nazism was embedded in the people at the time. Despite its highly controversial subject matter, Riefenstahl's films do capture the beauty of the Olympics and are objectively well-made documentaries that utilize advanced filmography. Separated from its actual subject matter, Olympia is a set of films that exemplify the allure of sporting events, both in athleticism and environment.

To that end, all sporting events, to some extent, possess the same kind of pure spirit present in the 1936 Olympics, particularly UF football. Ben Hill Griffin Stadium, also known as the Swamp, is the home stadium of the Florida Gators, and concurrently, is also home to outstanding athletics, unique cheers, and deafening decibels when the jumbotron instructs the fans to "get loud." The pride that Florida Gator fans have for their team is unmatched, almost reminiscent of the patriotism one would have for their country in the Olympic games. Today, we will take a deeper look at Olympia as a whole, examine how it connects to football culture on game day at the University of Florida, and finish with our take on Leni Riefenstahl’s filmmaking through two short films we produced together. Let the games begin!

The opening ceremony features athletes from across the world. Image from https://ryanmccormickfilmhistory.blogspot.com/2013/05/olympia-1938.html.

THE BASICS

Olympia I: Festival of Nations commences by paying tribute to ancient Greece and the games held over 2,000 years ago by showcasing statues of mythical, historical, and athletic figures with ties to Greek culture. This segment then transitions into a mini history lesson focusing on the ancient games with an emphasis on pride in athleticism, which perfectly sets the scene for Olympia II: Festival of Beauty. The follow-up film takes a less linear approach with its narrative through a series of vignettes capturing several sporting events in nonchronological order. Some highlights include scenes featuring divers, gymnasts, and rowers. Following these sequences, the film culminates in a celebratory manner, paying tribute to all who came from across the world to compete at such a high level.

In addition to serving as a visual spectacle, the Olympia films manage to break the mold in not one, but two massive ways: effectively spreading Nazi ideals to a mass audience and pioneering new means of documentary filmmaking as a whole. We will now examine these two key points in detail by providing examples of how Leni Riefenstahl fittingly “changed the game” with her second feature-length project ever.

PROMOTING NAZI VALUES

While the Games themselves are at the forefront of Olympia I: Festival of Nations and Olympia II: Festival of Beauty, subtle references to Nazi ideologies are present as a way to reinforce racial superiority. Perhaps the most famous athlete at the 1936 Olympic Games was Jesse Owens, an African American track and field star descended from a long line of slaves and sharecroppers. Owens went on to win four gold medals, the most out of any athlete competing that year. Nevertheless, Leni Riefenstahl gave more screen time to Lutz Long, a German long jumper who had an amicable relationship with Owens but fell flat to him in terms of athletic ability; Long earned a single silver medal in the 1936 Games. Additionally, the German men's swim team is given an extensive amount of screen time as a way to showcase how the ideal Nazi man should look like. By positioning German athletes as the central protagonists of the films while framing their victories not as individual achievements, but as symbols of national strength and superiority, Riefenstahl effectively fulfills her main duty as tasked by Adolf Hitler.

Additionally, the Olympia films are filmed in a way that emphasizes the power and control of the Nazi regime, transforming the Olympic Games into an occasion for state propaganda. The film’s opening scenes are marked by soaring aerial shots of the Olympic stadium, intercut with images of Nazi symbols such as swastikas, banners, and uniformed soldiers. These images suggest the seamless integration of Nazi power with the Olympic ideals of excellence and unity, positioning the Games as not just a global event, but a reflection of the greatness of the German state under Hitler’s leadership. Rifenstahl’s focus on organizational perfection, the military precision of the opening procession, and the scale of the stadium all serve to glorify the regime's control over Germany.

Lastly, the most obvious use of the Olympia films as propaganda is their portrayal of the idealized Aryan athlete. The visuals and editing often linger on the bodies of athletes, especially those of German competitors, highlighting their physical perfection, strength, and grace. In Olympia I: Festival of Nations, there specifically is a strong emphasis on the "heroic" aspects of physical composition, especially with male athletes who are portrayed similarly to the key figures showcased during the opening ceremony. The muscular, symmetrical figures of the athletes seem to echo Nazi ideals of racial purity and physical superiority. This visual language, paired with the framing of events as a glorification of the human body and the national spirit, subtly aligns the Olympic Games with the Nazi's racial narratives as mentioned earlier. The German team is often depicted with a sense of dominance and heroism, subtly reinforcing the idea of the Nazi state as a bastion of strength.

A picturesque discus thrower fits the Nazi mold. Image from https://www.autocraticforthepeople.com/2020/08/the-rise-of-leni-riefenstahl.html.

A diver in action is filmed from above. Image from https://www.autocraticforthepeople.com/2020/08/the-rise-of-leni-riefenstahl.html.

A FILMMAKING TRAILBLAZER

Olympia marks a departure from traditional sports coverage of the time that primarily focused on wide shots of entire events, for Leni Riefenstahl utilizes countless close-ups to capture the emotions and intensity of individual athletes. These detailed shots humanized the competitors and made their physical and emotional struggles evident to casual viewers. Close-ups of sweat-drenched faces, tensed muscles, and intense expressions create a level of intimacy that was rare in sports films of the era. By simply isolating the athletes in these moments rather than focusing on the larger atmosphere, Riefenstahl transformed them into symbols of human perseverance and greatness. For example, the close-ups of Lutz Long competing against Jesse Owens during his victorious sprint capture not only the physical dominance of these but also the determination and focus required for his historic achievements.

The editing in Olympia was another major innovation. Riefenstahl utilized rhythmic montage to create a sense of continuity and drama across events. She seamlessly intercut wide shots of the crowd, medium shots of athletes in action, and close-ups of their faces, creating an immersive experience that mirrored the excitement of the live event. In some sequences, such as the decathlon and diving events, the editing creates a visual rhythm that mirrors the tempo of the sports themselves. For instance, in the high jump sequence, cuts are timed to coincide with the athletes’ leaps, creating a visual and emotional crescendo. Similarly, the diving sequences in Olympia II are edited to highlight the fluidity and elegance of the movements, transforming them into a kind of cinematic poetry.

Another revolutionary aspect of the Olympia films was Riefenstahl’s willingness to experiment with unconventional camera angles. In the swimming and diving scenes, she placed cameras underwater, a technique that was virtually unheard of at the time. These shots provided a unique perspective, showcasing the athletes’ movements from beneath the surface and adding a new dimension to sports cinematography. Additionally, Riefenstahl employed low-angle shots to emphasize the athletes’ dominance during the pole vault events; these scenes were filmed from the ground up, making their jumps seem even more impressive.

MODERN SPORTS CULTURE IN FLORIDA

At the University of Florida, football is worshiped similarly to how sports fanatics worldwide show their affinity for their home country when the Olympics come around every other year, alternating between summer and winter games. Perhaps the most prominent example of this can be seen when fans express their support for DJ Lagway, the newest Gator quarterback who became promoted to the squad’s starting position following Graham Mertz’s season-ending injury while playing against Tennessee. To UF students, Lagway is viewed as arguably the best player the team has had since Tim Tebow back in the mid-2000s. Fan chants, merchandise, memes on YikYak, and promotional Instagram content contribute to his popularity.

Upon entering Ben Hill Griffin Stadium, upwards of 88,000 football fanatics dressed in orange and blue are seen walking in large masses. From there, they filter into the stands to watch the University of Florida marching band, the Pride of the Sunshine, play “Orange and Blue,” UF’s famous fight song. An honorary “Mr. Two Bits” then takes to the field and leads the crowd in his cheer: “Two bits, four bits, six bits, a dollar! All for the Gators, stand up and holler!”

The players are now on the field, and it’s officially game time. A hype video plays and the ball gets kicked into play. Fans chomp and cheer whenever the Gators score a first down, field goal, or, best of all, a touchdown. Once the first quarter comes to a finish, to no one’s surprise, the second quarter begins. The squad continues to put their best foot forward as they attempt to accumulate as many points as possible. Another 15 minutes of gameplay goes by, and it’s eventually halftime.

The Pride of the Sunshine performs once more, and the third quarter begins once halftime comes to an end. After 15 more minutes of playing football, it’s finally time for the fan-favorite songs “We Are the Boys” and “I Won’t Back Down” to be blasted from the stadium’s sound system. Gator fans link arms for the first song, swaying from side to side, and belt out the Tom Petty hit complete with “ooh-ahhs” in between the lines of the chorus.

75% of the game is in the past, and it’s now all or nothing for the Florida Gators. With 15 minutes left on the clock, there’s no time to play it safe. When the team emerges victorious, fanfare follows in the form of more singing, cheering, and fireworks. Unfortunately, not every game ends the way fans wish, but thankfully, the 2024 season has seen more home victories than losses. The Gators won five out of their seven home games and upset both LSU and Ole Miss, establishing them as a team not to be messed with and setting the tone for an even stronger season next year.

A win for the Gators is quite celebratory. Image from Grace Tucceri.

Gator Nation loves game days in The Swamp. Image from Jami Zeller.

OUR FILMS

Together, we decided to draw inspiration from Leni Riefenstahl’s Olympia films as a way to celebrate the Florida Gators football team and capture what it’s like to be a student on game day, from the kickoff festivities and very first play up to the final minutes of the fourth quarter and the postgame celebration on the field.

Both films draw inspiration from Olympia, especially content-wise. Clips from our films display the athletic prowess of the Florida Gators football players by emphasizing touchdowns, field goals, and of course, audience cheers.

Our first film is comparable to Festival of Nations, as it more directly covers the rituals in the Swamp, while the second is similar to Festival of Beauty, as it focuses on actual gameplay. Both our films, though, possess elements of both, just as Olympia parts one and two are not strictly constrained to one thematic narrative.

Olympia's focus on nationalism seems like it would differentiate the film significantly from our short films about college football, but this is not completely true. The fans' passion, excitement, and diehard support for the team is essentially nationalism on a smaller scale. Fans of Florida football are devoted to their team and territorial of it, creating chants and hand motions reminiscent of the pride and patriotism present at the 1936 Olympic games.

Olympia fits into the poetic documentary mode, as its clever editing technques and over-the-top filmography enhance its overall content Our films are also poetic documentaries, as they display the extravagancy of Florida football and focus on exciting visuals, and in the case of the second film, audio, to make them more interesting to audiences.

Our films, being only around 30 seconds, are only glimpses into the environment of football in the Swamp and cannot compare to the breadth of Olympia and all it was able to accomplish. However, there are many similarities between our films and Riefenstahl's, both thematically and technically.

go gators.mp4

FILM #1

Our first film is a montage of different clips from the game, presented in chronological order to present the artistic progression of a Florida Football game.

Because of the constraints of location as fans, we could not display different angles in our film. However, we were able to capture the LSU game through wide, medium, and tight shots. In Olympia I and Olympia II, Riefenstahl successfully captures the sheer size and energy of the audience at the Olympic games, both in her cinematography techniques and audio. She films wider shots to exemplify how many people are present at the games but zooms in on individuals when they are cheering for specific athletes or circumstances. Our film essentially accomplishes the same by focusing on smaller groups when highlighting specific cheers but showing the entire audience to display the fan power of the Florida Gators.

Both our film and Olympia showcase the ritual of sporting events. Ours presents short clips of the players' entrance, the band's halftime performance, the excitement of "I Won't Back Down" in between the third and fourth quarter of the game, and the traditional back-and-forth cheer of "orange" and "blue" by students and alumni. Our film is comprised mostly of these fan-based clips, exemplifies that the environment in the Swamp is mostly detached from the game's content but rather the fans' excitement.

The game's beginning, where players run across the field, cheerleaders wave massive Gator flags, and fireworks blast out of the stadium's screen, mirrors the extravagancy of the Olympic opening ceremonies and the Parade of Nations in Festival of Nations.

This film also progresses in chronological order, taking the viewer through the process of the game through short clips representative of the experience of actually being in the student section. This deliberate editing decision, similar to the progression of Olympia, offers context to clips and creates a logical progression in the film.

orange and blue.mp4

FILM #2

Our second film uses "Orange and Blue," the Florida Gators' fight song as background music, setting different clips to the upbeat tune and building excitement in the viewers. Olympia also uses background music to build suspense and excitement amongst the viewers. The background music in our film is as intentional --framing the montage of different clips.

Because of the short duration of our film, its pacing is much faster and does not take advantage of the suspense built up in Olympia during slow-motion clips like the javelin and disc throwing, where both the event's and film's viewers are on the edge of their seats anticipating the athletes' success. Our film, however, does achieve a similar feat by showing clips where points are scored, and if even for just a second, the viewer anticipates the success of the Florida Gators.

Our film focuses more on gameplay itself, most notably utilizing the technique of montage. The short string of clips of the audience and football players work to build momentum in the film, further exemplified by the cheerleaders' call and repeat throughout the short film. By showing only short clips of each element of the footage from the Swamp in a non-chronological order, the viewer gets only a glimpse into UF football, with the intention of intriguing them to see more.

We hope you enjoyed our analysis of the Olympia films and UF-themed tribute to Leni Riefenstahl’s work. GO GATORS!

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