From the Iron Age to the modern period, authors have repeatedly restructured the ecomythology of the Siegfried saga. Fritz Lang's Weimar film production (released in 1924-1925) of Die Nibelungen presents an ascendant humanist Siegfried, who dominates over nature in his dragon slaying. Lang removes the strong family relationships typical of earlier versions, and portrays Siegfried as a son of the German landscape rather than of an aristocratic, human lineage. Unlike The Saga of the Volsungs, which casts the dwarf Andvari as a shape-shifting fish, and thereby indistinguishable from productive, living nature, both Richard Wagner and Lang create dwarves who live in subterranean or inorganic habitats, and use environmental ideals to convey anti-Semitic images, including negative contrasts between Jewish stereotypes and healthy or organic nature. Lang's Siegfried is a technocrat, who, rather than receiving a magic sword from mystic sources, begins the film by fashioning his own. Admired by Adolf Hitler, Die Nibelungen idealizes the material and the organic in a way that allows the modern ''hero'' to romanticize himself and, without the aid of deities, to become superhuman.