Leni Riefenstahl’s Memoiren is the autobiography of German film director, Leni books of the year. Editions of the book also appear as The Sieve of Time: The Memoirs of Leni Riefenstahl (UK) and Leni Riefenstahl: A Memoir (US). A Memoir has ratings and 35 reviews. Jessica said: I have defeated you Leni Riefenstahl. A part of me believes this woman is a liar and a sociopath. Filmmaker for Adolf Hitler and top film executive for the Third Reich, Riefenstahl ( b. ) portrays herself, in this unconvincing, self-justifying autobiography.
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They seemed to appreciate her work as a director more than the Germans did. The propaganda movies were mostly tasteless poor quality works, but her work was utterly impressive and certainly was a lot more effective for the propaganda machine. Book ratings by Goodreads. View all 17 comments. However when Leni tries to provide any form of self-analysis or reflection there are rieenstahl with her ego and riefenztahl need to excuse herself for being A substantive and informative book which has as its central problem the issue of Riefenstahl’s complicity in the Nazi regime.
Mar 08, Stephanie rated it liked it. Foremost because she had not lost her dignity passing through mejoir life Riefenstahl’s prominence in the Third Reich along with her personal friendship with Adolf Hitler thwarted her film career following Germany’s defeat in World War Riefensstahl, after which she was arrested but released without any charges.
You really want to read it through to the end. Clearly, this was not the ideological goal of Nazism but it was an aspect of the Nazi elites that that they saw something of themselves, outsiders, perhaps, in figures like Riefenstahl, Reitsch, and Hitler’s personal secretaries. Nov 06, Alejandro Salgado B.
And to even gain and own that power to film documentaries for Nazi Germany, one must have shown some degree of loyalty so that people would place trust in her. Although she directed only eight films, just two of which received significant coverage outside of Germany, Riefenstahl was widely known all her life.
A Memoir by Leni Riefenstahl
A substantive and informative book which has as its central problem the issue of Riefenstahl’s complicity in the Nazi regime. Goebbels, Von Sternberg, and even US Olympian Glenn Morris were just a mempir of the high profile personalities reduced to sobbing puddles of humanity begging to be possessed by her – She enumerates all the ovations her film screenings receive – She maintains her ignorance of any atrocities committed in Germany and Poland – The way in which film production was managed under the Nazis was really bizarre What is most maddening is that as folks like Brecht and Lang fled Germany – even as she had offers to work in Hollywood, as she claimed – she stayed on.
It spurred a major obsession, and was otherwise just generally really interesting. Leni Riefenstahl Leni Riefenstahl Limited preview – It is for these works of cinematic propaganda that Riefenstahl is revered and reviled. Germany’s defeat and revolution in are experienced by the young Leni “in a cloud of unknowing.
A sad and stupendously flat reminiscence by the doyenne of elni German cinema, who even now seems rifeenstahl to admit that she backed the wrong horse in Having said that, during my reading her memoir, I couldn’t help riefehstahl feel that while she was disclosing leeni tangled past with Hitler and all, she probably had chosen to hide something in the mean time. The self-serving reminiscences of a Nazi propagandist and collaborator who refused to admit it. But what is there is a stunning record of how Riefenstahl came of age and entered the German film industry when it was at its height, making Mountain Memoif and developing a production technique that would come to full fruition in her documentaries, Triumph of the Will and Olym Leni Riefenstahl died inwhen she was years old, the last surviving member of Hitler’s inner circle.
She fed off of Hitler. To view it, click here. Her insistence through the decades that she directed the documentaries ldni as works of art, that the thought of propaganda never crossed her mind, has had the ring of a bald-faced lie.
The propaganda value of her films made during the s repels most modern commentators but many film histories cite the aesthetics as outstanding. Nov 05, Jackson Cyril rated it really liked it Shelves: Though she kept saying that she had neither no knowledge nor interest in politics whatsoever, unfortunately the fact is that she wouldn’t be in where she was during the Nazi period without certain degrees of support from the Nazis.
Along with insights into directing and camera work, Riefenstahl offers an emotional, powerful story of a woman who refuses to be defined by any terms other than her own. The book received a American release and coincided with the release of the acclaimed documentary; The Wonderful, Horrible Life of Leni Riefenstahl as well as Riefenstahl’s ninetieth birthday.
Another view, this time explored by the author, who needs to justify her contacts with Hitler. Goodreads helps you keep track of books you want to read. Individuals become expressions of natural will and order.
A Memoir: A Memoir
I was disappointed with her lack of responsibility for the work she did during WWII. She insists on her apolitical freedom, and takes refuge from t Ms.
She was 85 when she published this book Views Read Edit View history. I would have appreciated more context, more about others. After her death, the Associated Press described Riefenstahl as an “acclaimed pioneer of film and photographic techniques”. When the Nubans began wearing clothes and replacing their beautiful wooden calabashes with plastic bottles, Riefenstahl, at the age of 72, took a course in scuba-diving and became an impressive underwater photographer.
That decision haunts her to the end of her life and dogs her career, which after the war consists of denazification tribunals, memori suits, and bouts of poverty.
Other than clips from her later Olympia, I have not seen her other cinematic productions. The Economist wrote that Triumph of the Will “sealed her reputation as the greatest female filmmaker of the 20th century”.