Riefenstahl's career is examined through criticism which only allows two images: Riefenstahl as a Nazi film propagandist or Riefenstahl as a pure artist. My research shows that Riefenstahl is a complex person; therefore, it is impossible to place her into categories. Through her memoirs, Die Macht der Bilder, Das Blaue Licht, Triumph des Willens, Olympia, Tiefland, her Nuba material, and her underwater work it becomes clear that her career must be examined within the context of its time. Her films and photographs are considered for their artistic qualities as well as for their innovative elements
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