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

Valerie Weinstein

Valerie Weinstein

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...“Rammstein sucks. Everyone knows it. And it is linked to the aesthetically clueless and historically insane Leni Riefenstahl revivals in videos, Nike ads, or symposia and retrospectives in Potsdam.”“Rammstein sucks. Jeder weiss das. Und...

A Founding Myth and a Master Text: The Blue Light (1932)

Eric Rentschler

Eric Rentschler

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...This essay is an updated and revised version of a chapter that appeared in my The Ministry of Illusion: Nazi Cinema and Its Afterlife (Cambridge, MA: Harvard University Press, 1996), 27-51.On a drizzly afternoon in mid-September 2003, Leni...

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

Martina Thiele

,

Martina Thiele

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Ingeborg Majer-O'Sickey

Ingeborg Majer-O'Sickey

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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.

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...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...

0-1: Riefenstahl and the Beauty of Soccer

Lutz Koepnick

Lutz Koepnick

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...I. International soccer has witnessed tremendous transformations since the 1970s. Gone are the days of dominant midfielders who organize the movements of their entire teams according to their individual ingenuity and who serve forward...

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

Ingeborg Majer-O'Sickey

Ingeborg Majer-O'Sickey

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...I. Berlin U2 For a brief period in late 1998, Berlin subway riders learned to ignore a graffiti shocker at Bahnhof Zoo. Someone had written across the underground wall, “There's No Business Like Shoah-Business.” The slogan had been washed...

The Afterlife of Triumph of the Will: The First Twenty-five Years

David Bathrick

David Bathrick

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...Triumph of the Will is probably the most quoted work of film history. Today there is not a documentary about National Socialism that can get by without using images from this film and no other film has defined as deeply our visual notion...

Blood and Glamour

Georg Seesslen

Georg Seesslen

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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

...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...

Control and Consumption: The Photographs of Leni Riefenstahl

Guinevere Narraway

Guinevere Narraway

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...In a 1997 interview with the German newsmagazine Der Spiegel, Leni Riefenstahl asserted that she wanted to make “the beautiful” visible to people and to thereby rescue it.Mathias Schreiber and Susanne Weingarten, “Realität interessiert mich...

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.

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...Diotima's Dance at the Sea from Der heilige Berg (The Holy Mountain, 1926) I. It took Leni Riefenstahl over nine hundred pages to narrate her life story. Adamant about the truthfulness of the past, she cleverly reassures the reader...

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

Celia Applegate

Celia Applegate

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...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...