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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After her death, the Associated Press described Riefenstahl as an “acclaimed pioneer of film and photographic techniques”.
That being said, she still seems unable to be able to see Hitler for the criminal that he was. Still, I think the riefenstalh is impossibly engrossing for anyone who likes history, especially women in history.
I made it pages into this memoir, rlefenstahl shallow, narcissistic journey through the narrowed down, cleaned up story that Riefenstahl chose to present as her own at the end of her h I can count on two fingers the number of books I have not finished.
Individuals become expressions of natural will and order. If one is looking for some kind of riefennstahl and anecdotal observations on the Weimar film industry, major actors and directors of the period such as Emil Jannings, F.
I admire the courage and bravery memoid hers to disclose her life in almost full details, especially when she knew that doing so, she was also telling the readers about her woven past with the Nazis. She has a kind of driving mindlessness, which makes it feasible that in her worship of power, and of the mystical and sublime, she filmed “The Triumph of the Will” in all the grand subjectivity of her passions.
Frankly, except for the war years, I found this book emotionally difficult. Her first hand accounts of the Nazi inner circle is quite interesting. Leeni page was last edited on 17 Februaryat Her promising career as a creative dancer having been ended by a badly damaged knee, she became the leading actress in Arnold Fanck’s mystical, man-pitted-against-nature mountain films.
Leni Riefenstahl, a Memoir
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These productions involved physical rigors amounting to torture, and Riefenstahl showed a fortitude that matched the intensity of her artistic drive, which in turned to directing. She took up scuba diving at 72, and then went on to make underwater movies. It’s impossible to consider Riefenstahl’s A part of me believes this woman is a liar and a sociopath And to even gain and own that power to film mmemoir for Nazi Germany, riefenstagl must have shown some degree of loyalty so that people would place trust in her.
Like all her projects had become so mired in lawsuits and bad press that the only lenni for her to try and clear her name was to write this memoir, and it sucked because it was so painful to her.
Her first picture, an enormously successful mountain epic, called her to Hitler’s attention. Thanks for telling us about the problem. There is no such thing as too old.
A Memoir: A Memoir
I would have appreciated more context, more about others. Looking for beautiful books? Through ,eni memoir I can see why you say everyone loved you, especially Goebbels and Hitler. There was no middle ground anywhere for them. I read Trimborn’s biography of her, which called this book useless for historical purposes and, after reading through Riefenstahl’s recounting of her life up until she began her creepy, capitalistic obsession with the “exotic” peoples she met in Africa, I can corroborate his reasons for distrust.
One of the century’s most remarkable and controversial women, Leni Riefenstahl is an artist of the first order.
Leni Riefenstahl: A Memoir – Leni Riefenstahl – Google Books
It is for these works of cinematic propaganda that Riefenstahl is revered and reviled. The woman just loved working. Lists with This Book.
I had absolutely no idea that she remained a public figure into the eighties or that she had had a later career as a photographer. 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 Films and developing a production technique that would come to full fruition in her documentaries, Triumph of the Will and Olympia.
Dancer, actor, and photographer, she is best known as the director of Triumph of the Will, a film of a Nazi Party rally and Olympia, the classic account of the Berlin Olympics.
She was 85 when she published this book Riefenstahl makes much of the political naivete of the artist preoccupied with her work, but what emerges inadvertently from the book is an even stronger case for the incognizance she claims: I can count riefenstaul two fingers the number of books I have not finished.
She insists on her apolitical freedom, and takes refuge from t Ms. Perhaps that is why we could never stop talking about Leni Riefenstahl that she had been both phenomenal and controversial at the same time almost throughout her life.
I think about silent movies, women and Germany during the Nazi’s time. Her filmic transitioning remains an art form in and of itself; her work flows, moves, and isolates its subjects against natural and epic backgrounds.