Leni Riefenstahl


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Leni Riefenstahl
Helene Bertha Amalie Riefenstahl
Birthday
BirthplaceBerlin, German Empire
Died

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.

Bibliography

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 ?
The donation was made by Leni Riefenstahl's former secretary, who was the sole heir to Riefenstahl's estate.
Meanwhile, Brundage's diplomatic visit to Germany reveals another power struggle in that country as well, with Nazi propaganda minister Joseph Goebbels (Barnaby Metschurat) fighting an internal battle with the spirited young filmmaker Leni Riefenstahl (Carice van Houten), who has been appointed to capture the upcoming Games for prosperity and propaganda purposes.
He has also recently completed a play Leni-Leni about the German film maker Leni Riefenstahl and is writing a novel on the 1936 Berlin Olympics.
She examines nature writing, landscape paintings, nature photography, and films representing travels to the Pacific Islands and New Zealand, Latin America, the Baltic coast, the American West, the Caribbean, the Amazon, and other locales by Georg Forster, Alexander von Humboldt, Caspar David Friedrich, Albert Bierstadt, Leni Riefenstahl, and Werner Herzog, to illustrate the emergence of the modern German environmental imagination.
It is in itself not particularly unusual that the Soviet Alexander Rodchenko and the German Leni Riefenstahl would both find themselves photographing diving competitions and sporting events throughout the years 1933-1936.
In 1935, the notorious Nazi propaganda film ''Triumph des Willens'' (Triumph of the Will), directed by Leni Riefenstahl, premiered in Berlin with Adolf Hitler present.
Leni Riefenstahl's diabolically inspired 1935 paean to Hitler and his Nazi gang of usual subjects is brilliantly shot and edited to hold viewers rapt with wave after wave of spectacles.
Flaherty, 1922), Man with a Movie Camera (Dziga Vertov, 1929), Night and Fog (Alain Resnais, 1955), and Titicut Follies (Frederick Wiseman, 1967), among others, students and scholars can benefit from new essays on Triumph of the Will (Leni Riefenstahl, 1935), Culloden (Peter Watkins, 1964), La glaneurs et al glaneuse (Agnes Varda, 2000), Grizzly Man (Werner Herzog, 2005), and Borat (Larry Charles, 2006).
Thus we find an appreciation of the portrayal of Nazi Germany in the newsreels; notes on the screen depiction of the Spanish civil war (a war that saw the off-Broadway run of German blitzkrieg tactics); and Leni Riefenstahl's visit to the United States to sell film rights to her Olympia (1936).
Disney was a founder member of the Motion Picture Alliance for the Preservation of American Ideals, a known anti-Semitic group, London's Telegraph noted, and hosted Leni Riefenstahl, the Nazi film director, at his studio.
The subjects even include notorious figures like actor-turned-assassin John Wilkes Booth, gangster Bugsy Siegel and filmmaker Leni Riefenstahl, who were known for being easy on the eyes before becoming household names for significantly less-desirable traits.