Leni Riefenstahl

(redirected from Reifenstahl)
Leni Riefenstahl
Helene Bertha Amalie Riefenstahl
BirthplaceBerlin, German Empire

Riefenstahl, Leni

(Berta Helene Amalie Riefenstahl) (lā`nē rē`fənshtäl', bĕr`tə hālā`nə ämäl`yə), 1902–2003, German filmmaker, b. Berlin. First a dancer, then an actress, she began directing her own films in 1932. Her Triumph of the Will (1935) documented a huge Nazi rally at NurembergNuremberg
, Ger. Nürnberg , city (1994 pop. 498,945), Bavaria, S Germany, on the Pegnitz River and the Rhine-Main-Danube Canal. One of the great historic cities of Germany, Nuremberg is now an important commercial, industrial, and transportation center.
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 using such innovative techniques as moving cameras, telephoto lenses, and unusual camera angles to produce startling black-and-white footage with wide panoramas and striking closeups, thus dramatizing and glamorizing the ritualistic political event. The film brought her widespread attention as well as HitlerHitler, Adolf
, 1889–1945, founder and leader of National Socialism (Nazism), and German dictator, b. Braunau in Upper Austria. Early Life

The son of Alois Hitler (1837–1903), an Austrian customs official, Adolf Hitler dropped out of high school, and
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's favor and friendship, and she was commissioned to film the 1936 Berlin Olympics (Olympia, 1938). The latter film has been hailed for its lyrical technique. Riefenstahl has sometimes been praised as a visionary and a technically pioneering filmmaker. She also, however, has been condemned as a Nazi propagandist, and her 1930s work has been regarded as inseparable from the propaganda purposes for which they were made. Riefenstahl's connections with the Nazis led to her being blacklisted after 1945. Her later film and photographic work includes underwater pictures and studies of Africa.


See her memoir (1993); biographies by G. B. Infield (1976), T. Leeflang (1991), S. Bach (2007), and J. Trimborn (2007); study by C. C. Graham (1986); A. Taschen, Leni Riefenstahl: Five Lives: A Biography in Pictures (2000); R. Müller, dir., The Wonderful, Horrible Life of Leni Riefenstahl (film, 1993).

References in periodicals archive ?
9, which thanks Reifenstahl and John Galliano in the credits.
The book is full of strong and unexpected conclusions, such as the suggestion that with The Lindberg Flight, Brecht came closer to Reifenstahl than he would have wished by implying that mass media may be a way of turning the public into a choral mass.
But Frentz, popularly known as Hitler's photographer, though he never formally held that position, had seen the glory days as well, working as an assistant to Leni Reifenstahl to make documentaries of the Nazi rallies and then her two films about the 1936 Berlin Olympics.
Esta pelicula fue el arranque de la carrera de actriz de Reifenstahl.
Al presentar su obra en Alemania, Leni Reifenstahl se dio cuenta del gran papel que un politico llamado Hitler estaba representando en la conciencia de la opinion publica.
Her essay on the Nazi filmmaker Leni Reifenstahl thoughtfully and controversially argues that Reifenstahl indeed committed aesthetic crimes in refusing to challenge the patriarchal structures of Nazism but that her aesthetic power and responsibility could be likened to those of any successful and captivating Hollywood filmmaker.
But political legitimacy for Schmitt is a function of the crowd, of the almost mystical identification -- captured so hauntingly by Leni Reifenstahl -- between the ruler and the ruled.