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History of Leni Riefenstahl
History of Leni Riefenstahl
History of Leni Riefenstahl
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Recommended: History of Leni Riefenstahl
Leni Riefenstahl
Leni Riefenstahl, a dazzling individual that has lived through and experienced many things that no other person may have. She has lived through the World War One, Great Depression, Nazi Germany, World War Two, the Cold war and September 11. However, what fascinates historians and people all over was her involvement and relationship with Hitler and the Nazis party. This report will look over Leni’s early to role as director of her Infamous films Triumph of the Will and Olympia and her involvement and view of Nazism and Hitler.
Helene Bertha Amelie (Leni) was born on 22 August 1902 in Berlin. Leni lived in a comfortable middle-class family. Since a young age Leni has had a passion for dance. Leni’s dancing career began in the 1920s, during the Weimar republic that saw the birth of a culturally and politically diverse nation. Max Reinhardt, a prominent producer hired Leni as a dancer. Leni soon extended her talents to choreography. Her dancing career suffered due to a continuos knee injuries and one in particular in 1925, when she performed Prague. However, her life was going to under go a dramatic change that would lead her to acting and finally directing. Suddenly the image of a man climbing a jagged mountain came into focus. The colourful poster was promoting a movie with predictive name “Mountain of Destiny”. Leni instantly became entranced with the movie and soon went off to meet Arnold Fanck who would open the world of cinema to Leni. She stared in six of his movies, such as The Holy Mountain, The Big Jump and the White Hell of Pitz Palu, where she was portrayed as the hero and where her physical proficiency was displayed (which has always been a male domain). Franck had become her mentor and it been his opening scene of the ‘The magic mountain’ that Hitler admired.
In 1932 the political situation in Germany was intensifying. The Republic was crumbling and the great depression was taking its toll on the German people. Leni was not greatly affected by the depression and saw little of the violence that was occurring. In Berlin she was persuaded by friends to attend a political rally at Sportsplatz where Hitler would give an address. Instantly Leni had become spellbound by Hitler as he did upon thousands-‘He radiated something very powerful,’ she later observed, ‘something which had a kind of hypotonic effect.’ Inspired by Hitler, Leni ...
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Bibliography
Republic to Reich: A history of Germany 1918-1945 (K.J. Mason) 2003
This text was useful for my research, because it gave a good overview of the life of Leni Riefenstahl and it examined her two controversial films Triumph of the Will and Olympia. It also gives names of Historians and of the historical debates. I used the text through understanding what it was saying and compared it to my opinion of Leni. I used quotes from the text, which it had taken from historians, or other texts.
A Portrait of Leni Riefenstahl (Audrey Salkeld) 1996
The text was quite and interesting as it presented the views of not only Audrey but of other historians. The text gave me both views of the debate over Leni. It also helped me in determining my standing over the debates surrounding Riefenstahl. I used quotes from the text and used it in my reports.
http://www.thesportjournal.org/2001Journal/fall/olympia.htm
http://courses.washington.edu/ger371/riefenstahl/biography.html
http://womenshistory.about.com/od/riefenstahl/
Teaching History: Leni Riefenstahl Sources and Debates (Andrew G. Bonnell) 2001
http://film.guardian.co.uk/news/story/0,12589,1038696,00.html
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press: Princeton and Oxford, 2004.
The film M is symptomatic of the tense environment of prewar (and postwar) Germany. Since the end of the first world war, German nationalism had been vehemently suppressed by the rest of the world and then, in the early 1930’s, the Nazi party' was beginning its ascent to power. M eerily predicts the lynch mob mentality of Adolf Hitler’s agenda of genocide. The film enjoys a distinctive place in the history of cinema and particularly the history of German cinema. M came after what is formally recognized as the end of the German Expressionism movement and prior to the point at which German national cinema became centered around the propaganda films of the Nazi party. In M Fritz Lang passes judgment on peoples in many levels of society: he denounces parents (particularly mothers) as careless, the courts as inadequate, citizens as bloodthirsty, and criminals as ultimately self-righteous hypocrites. In this film, Fritz Lang critiques social justice and mob mentality by questioning attitudes toward mental illness and juxtaposing the processes and practices of the police with those of underworld criminals. Fritz Lang achieves this through his provocative style of contrasting sound with silence and the film’s audio track with whatever visual accompaniment was present. Lang’s exploration of various manifestations of duality (within the social justice system, within an individual, etc.) adds to the lasting effects and legacy of these profound contrasts. At a time when other filmmakers were more concerned with simply integrating the new technology of sound, Fritz Lang was incorporating it into his films to construct meaning and art. A great many of the pioneers of early sound films felt that the...
By analyzing Leni Riefenstahl Triumph of the Will (1935) and Fritz Hippler’s The Eternal Jew (1940), two infamous Nazi propaganda films with which Goebbels was involved in producing, the paper will have a solid foundation to offer a plausible connection between Goebbels’ ideology and Nazi cinema. The project will also use Goebbels’ speeches, articles, and diary entries which serve to have an explicit definition of the German identity in comparison to the inferred definition found through film considering that his views of Germans and German society and the “other” (Jews and communists) are frequent subjects in his writings. Additionally, his personal insights showcase how influential they were in the films he oversaw, thus how permeable Nazi ideology was in German cinema in the 1930s and early 1940s. While the two films are hardly subtle in their message, his personal writings and speeches are valuable reinforcements to the messages the films he oversaw
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