Loading

Results

Sort By:  1-10 of 13 (2 pages)
Results per page:
         

In the Rearview Mirror: Curating Riefenstahl, Filmmuseum Potsdam, 1999

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

4

... desire?) to occupy center stage themselves. Ingeborg Majer-O'Sickey Frau Dalichow, how did you come to the idea of undertaking the exhibit of Riefenstahl's work and life? Bärbel Dalichow Well, I should mention that in our programming...

Representing the Body in Cyberspace: Riefenstahl's Self-staging (Notes on Leni Riefenstahl's Web Page)

Martina Thiele

,

Martina Thiele

Search for publications

Ingeborg Majer-O'Sickey

Ingeborg Majer-O'Sickey

Search for publications
and

Neil Christian Pages

Neil Christian Pages is Assistant Professor of German and Comparative Literature at the Binghamton University SUNY, where he teaches courses in literary theory, cultural history, and European literature. His publications include essays on Kierkegaard, Nietzsche, Georg Brandes, and W.G. Sebald. He is currently at work on a manuscript on memorials, public memory and other acts of commemoration, tentatively titled On Commemoration: Memory.Identity.Ideology. Author affiliation details are correct at time of print publication.

Search for publications

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

2

...I. From the depth of the sea a body glides upward into brilliant blue light: This is Leni Riefenstahl. The scene is from her last film, Impressions under Water, broadcast by the Arte television channel in 2002 in honor of her one hundredth...

Introduction: Screening Riefenstahl—Riefenstahl Screened

Neil Christian Pages

,

Neil Christian Pages is Assistant Professor of German and Comparative Literature at the Binghamton University SUNY, where he teaches courses in literary theory, cultural history, and European literature. His publications include essays on Kierkegaard, Nietzsche, Georg Brandes, and W.G. Sebald. He is currently at work on a manuscript on memorials, public memory and other acts of commemoration, tentatively titled On Commemoration: Memory.Identity.Ideology. Author affiliation details are correct at time of print publication.

Search for publications

Mary Rhiel

Mary Rhiel is Associate Professor of German at the University of New Hampshire.In tandem with her interests in German film and colonial narratives, particularly those set in China, she has published on German film and on the problems of biography. Her publications include Re-Viewing Kleist: The Discursive Construction of Authorial Subjectivity in West German Kleist Films (Peter Lang, 1991) and the co-edited volume The Seductions of Biography (Routledge, 1996). She has published on teaching Riefenstahl in the journal Unterrichtspraxis. Author affiliation details are correct at time of print publication.

Search for publications
and

Ingeborg Majer-O’Sickey

Ingeborg Majer O'Sickey is Associate Professor of German and Women's Studies at Binghamton University SUNY. Her publications include numerous articles on German film as well as the co-edited volumes Triangulated Visions: Women in Recent German Cinema (SUNY Press, 1998) and Subversive Subjects: Reading Marguerite Yourcenar (FDU Press, 2004). Her current book project, Women in Nazi Cinema: Engendering Heimat, Genderizing Nation, is forthcoming in 2006 (Berghahn). Her scholarly and teaching interests in contemporary feminist cultural theories, which she mobilizes in order to read cinematic representations of femininities, meld with her work in German literature and culture. Author affiliation details are correct at time of print publication.

Search for publications

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

2

... ends with an important document from a particular historical moment for the reception of Leni Riefenstahl, the comprehensive exhibit on her life and work at the Filmmuseum Potsdam. Ingeborg Majer-O'Sickey's interview with the exhibition's...

The Ups and Downs of Leni Riefenstahl: Rereading the Rhythms of the Memoirs

Mary Rhiel

Mary Rhiel is Associate Professor of German at the University of New Hampshire.In tandem with her interests in German film and colonial narratives, particularly those set in China, she has published on German film and on the problems of biography. Her publications include Re-Viewing Kleist: The Discursive Construction of Authorial Subjectivity in West German Kleist Films (Peter Lang, 1991) and the co-edited volume The Seductions of Biography (Routledge, 1996). She has published on teaching Riefenstahl in the journal Unterrichtspraxis. Author affiliation details are correct at time of print publication.

Search for publications

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

4

... These are the same rhythms that punctuate the unfolding of Riefenstahl's own life story. Notes I would like to thank Neil Christian Pages and Ingeborg Majer-O'Sickey for their careful readings of drafts of this essay. I would like to thank Neil Christian Pages and Ingeborg Majer-O'Sickey for their careful readings of drafts of this essay....

Blood and Glamour

Georg Seesslen

Georg Seesslen

Search for publications
and

Neil Christian Pages

Neil Christian Pages is Assistant Professor of German and Comparative Literature at the Binghamton University SUNY, where he teaches courses in literary theory, cultural history, and European literature. His publications include essays on Kierkegaard, Nietzsche, Georg Brandes, and W.G. Sebald. He is currently at work on a manuscript on memorials, public memory and other acts of commemoration, tentatively titled On Commemoration: Memory.Identity.Ideology. Author affiliation details are correct at time of print publication.

Search for publications

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

0

...I. In the nineteenth century, industrial society produced, in addition to the three great systems of cultural communication—high culture, religious culture, and folk culture—a fourth, namely pop culture. Consistent with the very spirit...

Wonderful, Horrible Lies: Riefenstahl Memory and Riefenstahl History in Germany

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

1

... one o'clock in the morning.GFK - FernsehforschungNürnberg, March 27 and April 3, 1994. The documentary was released on video in the U.S. in 1995 and in Germany in 2001, and is offered on DVD in several editions and packages on both sides...

Reading Rammstein, Remembering Riefenstahl: “Fascist Aesthetics” and German Popular Culture

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

2

... http://0-web.lexis-nexis.com.innopac.library.unr.edu:80/universe/ (accessed July 20, 2007). See also the essay by Ingeborg Majer-O'Sickey in this volume. Symposia, film screenings, and a comprehensive catalogue accompanied the show.Leni Riefenstahl, ed. Filmmuseum Potsdam (Berlin: Henschel,...

Control and Consumption: The Photographs of Leni Riefenstahl

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

1

... and environmental problems of the region that had been building for decades.See Leif O. Manger, “Traders, farmers and pastoralists: economic adaptations and environmental problems in the southern Nuba Mountains of the Sudan,” The Ecology...

To Be or Not to Be Wagnerian: Music in Riefenstahl's Nazi-era Films

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

0

...I. Musically speaking, there is no talking people out of their belief that Richard Wagner composed the score for the Third Reich. We can find plenty of reasons for the persistence of this belief, not least in the unacknowledged influence...

Riefenstahl and the Face of Fascism

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

0

...Leni Riefenstahl as “Junta” in Das blaue Licht (The Blue Light), as seen in the illustrated film programs for the original 1932 version of the film and for its 1938 release. I. Let me begin by looking at a photograph. It depicts...