fenstahl.
             This was the period where Leni Riefenstahl began to learn about editing, developing and printing film. Between 1926 and 1933, Riefenstahl appeared in another five films produced by Fanck- Der Grosse Sprung (The Great Leap), Das Shicksal Derer Von Hasburg (The fate of the house of Habsburg), Die Weisse Hölle Vom Piz Palü (The White Hell Of Piz Palu), Stürme Über dem Mont Blanc (Storms Over Mount Blanc) and Der Weisse Rausch (The White Frenzy). Riefenstahl was the heroine of these films. Despite the dangers of the film making- such as avalanches and frostbite- she completed most of these dangerous activities herself.
             The "Bergfilms" as they became known were very popular and she became well known to audiences and her films enjoyed immense popularity- fans included Joesph Goebbels and Adolf Hitler. By 1933, Leni Riefenstahl was a popular movie star in Germany, a powerful rival to Marlene Dietrich. Therefore her influence on the society of Germany was pronounced long before the production of Triumpf Des Willens or Olympia. Riefenstahl's films were providing an escape to the German people from the horrors of depression and the increasing street violence and unrest caused by the frequent elections.
             Some pro-Nazists and later historiand viewed the Bergfilms as a precursor to the ideology of the Nazis- the concept of 'Blut und Boden" (blood and soil) proclaimed that fit, racially pure Aryan Germans belinged to the countryside and mountians. Some historians believe that Riefenstahl's love of the Bergfilm genre as evidence of her support of anti-Semitism. However, Riefenstahl has never stated anything to support this argument, so it appears to be unfounded.
             Despite her success, Riefenstahl found herself growing dissatisfied with her acting
             ...