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

Martina Thiele

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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...

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

Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...The research and writing of this essay has been generously supported by the Jena Center for Twentieth Century History at the Friedrich-Schiller-Universität Jena. I am especially indebted to the director of the center, Norbert Frei...

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.

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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...

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...

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

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...

Control and Consumption: The Photographs of Leni Riefenstahl

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...

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.

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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.

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Riefenstahl Screened : An Anthology of New Criticism

Continuum, 2008

Book chapter

...This anthology emerged from our assumption that there were enough monographs and biographies of Leni Riefenstahl, but that there was a dearth of critical, scholarly volumes dealing with her work and persona. Predicting that the biography...

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

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...

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

...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

...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...