Leni Riefenstahl is larger than life. From the lure of her persona as it enters our homes via television to our pleasure in the recognition of her film images at rock concerts, to her place as part of the history of the Nazi period, Riefenstahl lives on in our imagination and in our cultural productions. Thus, the editors' introduction to this volume examines the manner in which Riefenstahl 'haunts' debates on aesthetics and politics, and how her legacy reverberates in the contemporary cultural scene.
The editors view the collection as a three-part framework. The essays in the opening section of the book show that Riefenstahl is still very much alive and well — and controversial — in popular culture. Her films continue to determine the way in which we think about the Nazi period, providing instantly recognizable images and messages that often go unquestioned. We cannot separate these phenomena from Riefenstahl's years of avid self-fashioning. The second section of the book offers treatments of the shifting, mobile relationship between Riefenstahl's stubborn attempts to create and control her personae and her reactions to others' re-appropriations of the meanings of her life and work. Reading the texts and discourses surrounding 'Riefenstahl,' these scholars treat her memoirs - and her repeated assertions about herself — as a springboard into understanding anew how we might approach her films in a productive way. The closing section of the volume comprises essays that go right to the heart of the matter: Riefenstahl's films and photography. The new contexts—theoretical discussions and emerging discourses that animate these essays—include Scarry's treatise on beauty, justice and the global, the problems of history and memory, the place of Riefenstahl's filmmaking technique in contemporary cinema, and her appropriation of German musical traditions.
Fueled by the work of a diverse range of scholars, then, Riefenstahl Screened offers an opportunity to rethink the place of Leni Riefenstahl and her work in contemporary culture and in academic discourse. It insists upon a critical self-examination that maps a topography of how scholars and teachers avail themselves of Riefenstahl's corpus.

upload/motw_shc_2025_10/shc/Riefenstahl Screened_ An Anthol - Neil Christian Pages.pdf

motw/Riefenstahl Screened_ An Anthol - Neil Christian Pages.pdf

edited by Neil Christian Pages, Mary Rhiel, and Ingeborg Majer-O'Sickey

Pages, Neil Christian, Majer O'Sickery, Ingeborg, Rhiel, Mary

Pages, Neil Christian; Rhiel, Mary; Majer O'Sickey, Ingeborg

Neil Christian Pages; Mary Rhiel; Ingeborg Majer O'Sickey

Continuum International Publishing Group, Incorporated

Continuum International Publishing Group, Limited

United States, United States of America

New York, New York State, 2008

London, 2008

producers:
3-Heights(TM) PDF Producer 4.2.26.0 (http://www.pdf-tools.com)

Memory of the World Librarian: Calamitous Annunciation

Includes bibliographical references and index.

Leni Riefenstahl is larger than life. From the lure of her persona as it enters our homes via television to our pleasure in the recognition of her film images at rock concerts, to her place as part of the history of the Nazi period, Riefenstahl lives on in our imagination and in our cultural productions. Thus, the editors' introduction to this volume examines the manner in which Riefenstahl 'haunts' debates on aesthetics and politics, and how her legacy reverberates in the contemporary cultural scene. The editors view the collection as a three-part framework. The essays in the opening section of the book show that Riefenstahl is still very much alive and well and controversial in popular culture. Her films continue to determine the way in which we think about the Nazi period, providing instantly recognizable images and messages that often go unquestioned. We cannot separate these phenomena from Riefenstahl's years of avid self-fashioning. The second section of the book offers treatments of the shifting, mobile relationship between Riefenstahl's stubborn attempts to create and control her personae and her reactions to others' re-appropriations of the meanings of her life and work. Reading the texts and discourses surrounding 'Riefenstahl, ' these scholars treat her memoirs - and her repeated assertions about herself as a springboard into understanding anew how we might approach her films in a productive way. The closing section of the volume comprises essays that go right to the heart of the matter: Riefenstahl's films and photography. The new contexts theoretical discussions and emerging discourses that animate these essays include Scarry's treatise on beauty, justice and the global, the problems of history and memory, the place of Riefenstahl's filmmaking technique in contemporary cinema, and her appropriation of German musical traditions. Fueled by the work of a diverse range of scholars, then, "Riefenstahl" Screened offers an opportunity to rethink the place of Leni Riefenstahl and her work in contemporary culture and in academic discourse. It insists upon a critical self-examination that maps a topography of how scholars and teachers avail themselves of Riefenstahl's corpus.
Film
History & Criticism
Performing Arts
Direction & Production
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Contents 6
Acknowledgments 8
Contributors 10
Introduction: Screening Riefenstahl—Riefenstahl Screened 14
Part One: Aesthetics 22
1 Blood and Glamour 24
2 Riefenstahl and the Face of Fascism 43
3 0–1: Riefenstahl and the Beauty of Soccer 65
Part Two: Afterlife 84
4 The Afterlife of Triumph of the Will: The First Twenty-five Years 86
5 Wonderful, Horrible Lies: Riefenstahl Memory and Riefenstahl History in Germany 111
6 Reading Rammstein, Remembering Riefenstahl: “Fascist Aesthetics” and German Popular Culture 143
Part Three: Continuities 162
7 A Founding Myth and a Master Text: The Blue Light (1932) 164
8 To Be or Not to Be Wagnerian: Music in Riefenstahl’s Nazi-era Films 192
9 The Ups and Downs of Leni Riefenstahl: Rereading the Rhythms of the Memoirs 215
Part Four: “Riefen-Star” 230
10 Control and Consumption: The Photographs of Leni Riefenstahl 232
11 Representing the Body in Cyberspace: Riefenstahl’s Self-staging (Notes on Leni Riefenstahl’s Web Page) 247
12 In the Rearview Mirror: Curating Riefenstahl, Filmmuseum Potsdam, 1999 264
INDEX 286
A 286
B 286
C 286
D 286
E 287
F 287
G 287
H 287
I 287
J 287
K 288
L 288
M 288
N 288
O 288
P 288
R 288
S 289
T 289
U 289
V 289
W 289
Z 289

"Riefenstahl Screened: An Anthology of New Criticism gathers a series of critical voices in a volume that, far from offering the last word on the filmmaker and her films, aims to complicate further the disputes surrounding this iconic figure."--Jacket

2025-10-27