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| lady riefenstahl: A Portrait of Leni Riefenstahl Audrey Salkeld, 1997 Leni Riefenstahl, who died in 2003, will always be remembered for her film of the 1936 Olympic Games in Berlin. After the war, Riefenstahl was shunned by the film industry both in Europe and America, despite a 1952 court ruling proclaiming her not guilty of supporting the Nazis in a punishable way. Winner of the Boardman Tasker Award, this is a fine and balanced study of a still-controversial figure. |
| lady riefenstahl: Delayed Rays of a Star Amanda Lee Koe, 2019-07-09 An NPR Best Book of the Year A dazzling debut novel following the lives of three groundbreaking women--Marlene Dietrich, Anna May Wong, and Leni Riefenstahl--cinema legends who lit up the twentieth century At a chance encounter at a Berlin soirée in 1928, the photographer Alfred Eisenstaedt captures three very different women together in one frame: up-and-coming German actress Marlene Dietrich, who would wend her way into Hollywood as one of its lasting icons; Anna May Wong, the world's first Chinese American star, playing bit parts while dreaming of breaking away from her father's modest laundry; and Leni Riefenstahl, whose work as a director of propaganda art films would first make her famous--then, infamous. From this curious point of intersection, Delayed Rays of a Star lets loose the trajectories of these women's lives. From Weimar Berlin to LA's Chinatown, from a bucolic village in the Bavarian Alps to a luxury apartment on the Champs-Élysées, the different settings they inhabit are as richly textured as the roles they play: siren, victim, predator, or lover, each one a carefully calibrated performance. And in the orbit of each star live secondary players--a Chinese immigrant housemaid, a German soldier on leave from North Africa, a pompous Hollywood director--whose voices and viewpoints reveal the legacy each woman left in her own time, as well as in ours. Amanda Lee Koe's playful, wry prose guides the reader dexterously around murky questions of identity, complicity, desire, and difference. Intimate and clear-eyed, Delayed Rays of a Star is a visceral depiction of womanhood--its particular hungers, its oblique calculations, and its eventual betrayals--and announces a bold new literary voice. |
| lady riefenstahl: Hitler's Women Guido Knopp, 2003 First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company. |
| lady riefenstahl: Realities and Fantasies of German Female Leadership Elisabeth Krimmer, 2019 The Western tradition of excluding women from leadership and disparaging their ability to lead has persisted for centuries, not least in Germany. Even today, resistance to women holding power is embedded in literary, cultural, and historical values that presume a fundamental opposition between the adjective female and the substantive leader. Women who do achieve positions of leadership are faced with a panoply of prejudicial misconceptions: either considered incapable of leadership (conceived of as alpha-male behavior), or pigeonholed as suited only to particular forms of leadership (nurturing, cooperative, egalitarian, communicative, etc.). Focusing on the German-speaking countries, this volume works to dismantle the prevailing disassociation of women and leadership across a range of disciplines. Contributions discuss literary works involving women's political authority and cultivation of community from Maria Antonia of Saxony to Elfriede Jelinek; women's social activism, as embodied by figures from Hedwig Dohm to Rosa Luxemburg; women in political film, environmentalism, neoliberalism, and the media from Leni Riefenstahl to Petra Kelly to Maren Ade; and political leaders Hillary Clinton and Angela Merkel. The essays achieve a deeper understanding of the historical roots and theoretical assumptions that inform ideas and realities of German female leadership. CONTRIBUTORS: Dorothee Beck, Seth Berk, Friederike Brühöfener, Margaretmary Daley, Aude Defurne, Helga Druxes, Sarah Vandegrift Eldridge, Anke Gilleir, Rachel J. Halverson, Peter Hudis, Elisabeth Krimmer, Stephen Milder, Joyce Marie Mushaben, Lauren Nossett, Patricia Anne Simpson, Almut Spalding, Inge Stephan, Lisa Fetheringill Zwicker. ELISABETH KRIMMER is Professor of German at the University of California, Davis. PATRICIA ANNE SIMPSON is Professor of German and Chairperson of the Department of Modern Languages and Literatures at the University of Nebraska-Lincoln. |
| lady riefenstahl: Leni Steven Bach, 2008-02-12 Leni Riefenstahl, the woman known as “Hitler’s filmmaker,” made some of the greatest and most innovative documentaries ever made. They are also insidious glorifications of Adolf Hitler and the Third Reich. Now, Steven Bach reveals the truths and lies behind Riefenstahl’s lifelong self-vindication as an apolitical artist who claimed to know nothing of the Holocaust and denied her complicity with the criminal regime she both used and sanctified. A riveting and illuminating biography of one of the most fascinating and controversial personalities of the twentieth century. |
| lady riefenstahl: Dancing in the Darkness Sally Faulkner, 2025-05-26 In a room as white and austere as a hospital ward, in a fanciful penthouse done up like an ocean liner floating halfway between Tiergartenstrasse and a pale December sky, Sally Faulkner stared at the woman across the table and began to comprehend her situation. The reigning Queen of European Cinema, Leni Riefenstahl, was thirty-seven years old, at the height of her creative powers, an international celebrity. The Fuhrer's Filmmaker, an honorific endowing her with influence and respect. Yet, Leni wasn't her own woman. What empowered her ensnared her. The films she made were magnificent, but they weren't hers. They were the property of her patron. And so was she. With alarm bells ringing, Sally suddenly recognized that if she wanted a career in Germany and her self-respect, she'd have to watch her step - not only with Doctor Goebbels. Sally Faulkner (nee von Falkenhayn) was born 14 June 1918 in Sankt Goar, Germany. Raised in Hollywood by emigre parents, young Sally dreamed of becoming a film director, graduated from the film school at USC, and landed a job as script girl for George Cukor on Gone with the Wind. In 1939, a job offer from Leni Riefenstahl brought Sally to Berlin, where she worked on films under Nazi director Veit Harlan. As World War Two began, Sally returned to the USA to work on morale films for the Army under director Frank Capra. A chance meeting with Budd Schulberg took Sally to Nuremberg to create filmed evidence for the prosecution at the war crimes trial. In August 1948, Sally was awarded the Distinguished Civilian Service Medal by the Department of Defense for her Nuremberg work, the highest honor for a civilian working for the DoD. After a long and distinguished career as a documentarian and educator, Sally died at The Motion Picture Country Home in Woodland Hills on 11 June 2019, a few days before her 101st birthday. |
| lady riefenstahl: Chick Flicks B. Ruby Rich, 1998 If there was a moment during the sixties, seventies, or eighties that changed the history of the women's film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks--with its definitive, the-way-it-was collection of essays--captures the birth and growth of feminist film as no other book has done. For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program The World have secured her a place as a central figure in the remarkable history of what she deems cinefeminism. In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women's involvement in cinema but of one of its key players as well. The first book-length work from Rich--whose stature and influence in the world of film criticism and theory continue to grow--Chick Flicks exposes unexplored routes and forgotten byways of a past that's recent enough to be remembered and far away enough to be memorable. |
| lady riefenstahl: Practicing Modernity Carmel Finnan, 2006 Vorwort - I. Sharp: Women and Weimar Berlin - C. Ujma: Theories of Masculinity and the Avant-Garde - T. Elsaesser: The Camera in the Kitchen: Grete Schütte-Lihotsky and Domestic Modernity - A. Baumhoff: Women in the Bauhaus: Gender Issues in Weimar Culture - D. Rowe: Painting herself. Lotte Laserstein between subject and object - U. Seiderer: Between Minor Sculpture and Promethean Creativity. The Position of Käthe Kollwitz in Weimar's Discourse on Art - C. Finnan: Photographers between Challenge and Conformity. Yva's Career and Ruvre - K. Bruns: Thea von Harbou. Writing Skills and Film Aesthetics - J. Trimborn: Leni Riefenstahl's Career before Hitler: Success-stories of an Outsider - C. Schönfeld: Lotte Reiniger and the Art of Animation - A. Lareau: The Blonde Lady Sings. Women in Weimar Cabaret - I. C. Gil: 'Jede Frau ist eine Tänzerin...' The Gender of Dance in Weimar Culture - B. Maier-Katkin: Anna Seghers, Irmgard Keun. A Discourse on Emancipation and Social Circumstance - C. Ujma: Gabriele Tergit and Berlin: Women, City and Modernity - C. Finnan: Marieluise Fleißer's Self-Reflections on the Female Writer - J. Redmann: Else Lasker-Schüler versus the Weimar Publishing Industry. Genius, Gender, Politics, and the Literary Market - J. Warren: Contrasted Heroines in Two Plays by Ilse Langner. A Dramatist at 'Weimar's End' - L. Soares: Vicky Baum and Gina Kaus: Vienna, Berlin, Hollywood |
| lady riefenstahl: Daughters of the Fatherland Jericho J. Johnson, 2024-10-01 Daughters of the Fatherland highlights the plight of the children during World War II with a special focus on the Romani Holocaust, Porajmos (devouring or destruction). Wars tear families apart, with children being left to fend for themselves in a chaotic world. During war, the conflict between and within nations can result in the loss of humanity; however, in Rosa’s case, love and peace ultimately restores her community allowing personal redemption for Rosa. |
| lady riefenstahl: Women Criminals Vickie Jensen, 2011-11-10 A unique, two-volume study that examines female crime and the women who commit it. The two-volume Women Criminals: An Encyclopedia of People and Issues addresses both key topics and key figures in women's crime. The first volume provides topical essays about areas critical to the understanding of female criminals, such as the definition of women's crime, explanations of women's criminality, ethnic and age diversity in female criminals, and responses of the criminal justice system. The second volume comprises biographical entries profiling women who are obviously criminals, such as Aileen Wuornos and Myra Hindley, and also women who were victims of circumstance, unjust laws, or narrowly applied definitions of crime, such as Rosa Parks, Harriet Tubman, and Sophie Scholl. In addition to highlighting the breadth of women's criminality, these portraits provide a holistic, multifaceted understanding of the dynamics of women's crime and why it occurs, connecting the individual stories to the larger social-scientific perspectives. Care has been taken to include the women's own voices and perspectives where possible and to address the intentions and reasoning of the system that responded to their criminality. |
| lady riefenstahl: An Absorbing Errand Janna Malamud Smith, 2013-08-06 An Absorbing Errand uses stories of artists' lives, personal anecdotes, and insights from the author's work as a psychotherapist to examine the psychological obstacles that prevent people from staying with, and relishing, the process of art–making. Each chapter is devoted to a problem intrinsic to the creative process and illustrates how these very obstacles, once understood, can become prime sources of the energy that actually fuels the mastery of art–making. Ultimately, An Absorbing Errand provides a philosophical, historical, and analytical look at the creative impulse and how certain artists from a wide field mastered their craft. From Julia Child to Charlie Chaplin, Lady Gaga to Michael Jackson, famous painters to established writers, Smith shows us how each overcame the obstacles they faced in the pursuit of their creative visions. Many people carry within their hearts an aching sense that they have something they want to express through art; or that they will not feel complete until they've brought out some hidden part of themselves. Yet they cannot begin to do the work of bringing their creative idea into the world. Or, maybe they've begun over and over, but they can't stay with their labor long enough to finish it. An Absorbing Errand is a supportive companion, an enlightened and compassionate ballast, a guide for anyone who has ever picked up a pencil to write, or a paint brush to paint, or any tool —from chisel to loom— to pursue any serious craft, and then put it down again frustrated, discouraged, and unable to continue. An Absorbing Errand is unlike any book about creating art of any kind, and aspiring and working artists alike will find it both original and invaluable. |
| lady riefenstahl: The Women Who Flew for Hitler Clare Mulley, 2017-07-18 Biographers' Club Prize-winner Clare Mulley’s The Women Who Flew for Hitler—a dual biography of Nazi Germany's most highly decorated women pilots. Hanna Reitsch and Melitta von Stauffenberg were talented, courageous, and strikingly attractive women who fought convention to make their names in the male-dominated field of flight in 1930s Germany. With the war, both became pioneering test pilots and were awarded the Iron Cross for service to the Third Reich. But they could not have been more different and neither woman had a good word to say for the other. Hanna was middle-class, vivacious, and distinctly Aryan, while the darker, more self-effacing Melitta came from an aristocratic Prussian family. Both were driven by deeply held convictions about honor and patriotism; but ultimately, while Hanna tried to save Hitler’s life, begging him to let her fly him to safety in April 1945, Melitta covertly supported the most famous attempt to assassinate the Führer. Their interwoven lives provide vivid insight into Nazi Germany and its attitudes toward women, class, and race. Acclaimed biographer Clare Mulley gets under the skin of these two distinctive and unconventional women, giving a full—and as yet largely unknown—account of their contrasting yet strangely parallel lives, against a changing backdrop of the 1936 Olympics, the Eastern Front, the Berlin Air Club, and Hitler’s bunker. Told with brio and great narrative flair, The Women Who Flew for Hitler is an extraordinary true story, with all the excitement and color of the best fiction.Biographers' Club Prize-winner Clare Mulley’s The Women Who Flew for Hitler—a dual biography of Nazi Germany's most highly decorated women pilots. Hanna Reitsch and Melitta von Stauffenberg were talented, courageous, and strikingly attractive women who fought convention to make their names in the male-dominated field of flight in 1930s Germany. With the war, both became pioneering test pilots and were awarded the Iron Cross for service to the Third Reich. But they could not have been more different and neither woman had a good word to say for the other. Hanna was middle-class, vivacious, and distinctly Aryan, while the darker, more self-effacing Melitta came from an aristocratic Prussian family. Both were driven by deeply held convictions about honor and patriotism; but ultimately, while Hanna tried to save Hitler’s life, begging him to let her fly him to safety in April 1945, Melitta covertly supported the most famous attempt to assassinate the Führer. Their interwoven lives provide vivid insight into Nazi Germany and its attitudes toward women, class, and race. Acclaimed biographer Clare Mulley gets under the skin of these two distinctive and unconventional women, giving a full—and as yet largely unknown—account of their contrasting yet strangely parallel lives, against a changing backdrop of the 1936 Olympics, the Eastern Front, the Berlin Air Club, and Hitler’s bunker. Told with brio and great narrative flair, The Women Who Flew for Hitler is an extraordinary true story, with all the excitement and color of the best fiction. |
| lady riefenstahl: Skiing Heritage Journal , 1993-05 Skiing Heritage is a quarterly Journal of original, entertaining, and informative feature articles on skiing history. Published by the International Skiing History Association, its contents support ISHA's mission to preserve skiing history and to increase awareness of the sport's heritage. |
| lady riefenstahl: Olympic Affair Terry Frei, 2012-12-16 Though not a member of the National Socialist Party, Leni Riefenstahl was the filmmaker darling of the Nazis and Adolf Hitler. First a successful dancer and actress in Germany, she became more notorious when she produced and directed Victory of Faith and Triumph of the Will, the chilling documentaries about Nazi Party Congresses at Nuremberg. Glenn Morris was an All-American farm boy from tiny Simla, Colorado, as well as a former college football star and student body president at the school now known as Colorado State University. At the 1936 Olympics, he won the decathlon, earning him the label “the world’s greatest athlete.” Among the American heroes at the Berlin Games, he was considered second only to Jesse Owens, who won four gold medals. Riefenstahl and Morris: An unlikely couple? Perhaps, but in her 1987 memoirs, the German filmmaker belatedly confirmed she had an affair with the American athlete during the filming of Olympia, Riefenstahl’s documentary about the Berlin Games. In fact, she portrayed it as much more than a dalliance, saying that she had dreamed of marrying Morris and that he broke her heart. Morris, who went on to Hollywood, the National Football League, and military service, spoke sparingly of the relationship, but mused late in life that he “should have stayed in Germany with Leni.” In Olympic Affair, author Terry Frei turns to historical fiction in a novel researched in much the same fashion as his widely praised works of nonfiction, including Horns, Hogs, and Nixon Coming and Third Down and a War to Go. Using deduction, imagination and narrative skill to augment documented fact (as well as debunk myths parroted for many years), Frei tells the story of their ill-fated affair . . . and beyond. Read the first chapter of Olympic Affair here. |
| lady riefenstahl: Modern Women: Women Artists at The Museum of Modern Art Alexandra Schwartz, 2010 This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives. |
| lady riefenstahl: Triumph Jeremy Schaap, 2015-03-03 This New York Times–bestselling author’s account of the 1936 Olympics in Berlin offers a “vivid portrait not just of Owens but of ’30s Germany and America” (Sports Illustrated). At the 1936 Olympics, against a backdrop of swastikas and goose-stepping storm troopers, an African American son of sharecroppers won a staggering four gold medals, single-handedly falsifying Hitler’s myth of Aryan supremacy. The story of Jesse Owens at the Berlin games is that of an athletic performance that transcends sports. It is also the intimate and complex tale of one remarkable man’s courage. Drawing on unprecedented access to the Owens family, previously unpublished interviews, and archival research, Jeremy Schaap transports us to Germany and tells the dramatic tale of Owens and his fellow athletes at the contest dubbed the Nazi Olympics. With incisive reporting and rich storytelling, Schaap reveals what really happened over those tense, exhilarating weeks in a “snappy and dramatic” work of sports history (Publishers Weekly). “A remarkable job of tackling a complex subject and bringing it to life.” —John Feinstein “Add[s] even more luster to the indelibly heroic achievements of Jesse Owens.” —Ken Burns |
| lady riefenstahl: Living with Hitler Herbert Döhring, Karl Wilhelm Krause, Anna Plaim, 2018-05-30 This collection paints a picture of Hitler from members of his household in the unique position of being seemingly ever-present, yet totally unconnected to events.The reader is introduced to Hitler's Bodyguard Karl Krause (1934-39), his house administrator Herbert Dhring (1935-43) and chambermaid Anna Plaim (1941-43). From these accounts we get a deeper sense of Hitler in close proximity.These accounts massively add to our understanding of Hitler as a three dimensional character, especially from subjects like Plaim who only knew Hitler's home life, having rarely left Berghof.The series is able to shed light on his likes and dislikes from foods to his hobbies, creating a strange sense of humanity. This collection also provides the reader with fresh anecdotes, observations and portraits of Hitler's entourage and relatives. Plaim's images of Eva Braun come from finding torn fragments in the bin, whilst Dhring sheds light on Martin Bormann's demeanour. |
| lady riefenstahl: Living with Hitler Karl Wilhelm Krause, Herbert Döhring, Anna Plaim, Kurt Kuch, 2019-05-24 This collection paints a picture of Hitler from members of his household in the unique position of being “seemingly ever-present, yet totally unconnected to events.” Compelling recollections from Hitler's Bodyguard Karl Krause (1934-39), his house administrator Herbert Döhring (1935-43) and chambermaid Anna Plaim (1941-43). From these accounts we get a deeper sense of Hitler in close proximity. These accounts massively add to our understanding of Hitler as a three dimensional character, especially from subjects like Plaim who only knew Hitler's home life, having rarely left Berghof. The authors shed light on his likes and dislikes from foods to his hobbies, creating a strange sense of humanity. This collection also provides fresh anecdotes, observations and portraits of Hitler's entourage and relatives. Plaim's images of Eva Braun came from finding torn fragments in the bin, whilst Döhring sheds light on Martin Bormann's demeanour. |
| lady riefenstahl: Baba Yaga Laid an Egg Dubravka Ugresic, 2009-05-21 Baba Yaga is an old hag who lives in a house built on chicken legs and kidnaps small children. She is one of the most pervasive and powerful creatures in all mythology. She appears in many forms: as Pupa, a tricksy, cantankerous old woman who keeps her legs tucked into a huge furry boot; as a trio of mischievous elderly women who embark on the trip of a lifetime to a hotel spa; and as a villainous flock of ravens, black hens and magpies infected with the H5N1 virus. But what story does Baba Yaga have to tell us today? This is a quizzical tale about one of the most pervasive and poerful creatures in all mythology, and an extraordinary yarn of identity, secrets, storytelling and love. |
| lady riefenstahl: Skiing Heritage Journal , 1993-05 Skiing Heritage is a quarterly Journal of original, entertaining, and informative feature articles on skiing history. Published by the International Skiing History Association, its contents support ISHA's mission to preserve skiing history and to increase awareness of the sport's heritage. |
| lady riefenstahl: The Vanishing Half Brit Bennett, 2022-02-01 #1 NEW YORK TIMES BESTSELLER ONE OF BARACK OBAMA'S FAVORITE BOOKS OF THE YEAR NAMED A BEST BOOK OF 2020 BY THE NEW YORK TIMES • THE WASHINGTON POST • NPR • PEOPLE • TIME MAGAZINE • VANITY FAIR • GLAMOUR New York Times Readers Pick: 100 Best Books of the 21st Century 2021 WOMEN'S PRIZE FINALIST “Bennett’s tone and style recalls James Baldwin and Jacqueline Woodson, but it’s especially reminiscent of Toni Morrison’s 1970 debut novel, The Bluest Eye.” —Kiley Reid, Wall Street Journal “A story of absolute, universal timelessness . . . For any era, it's an accomplished, affecting novel. For this moment, it’s piercing, subtly wending its way toward questions about who we are and who we want to be….” – Entertainment Weekly From The New York Times-bestselling author of The Mothers, a stunning new novel about twin sisters, inseparable as children, who ultimately choose to live in two very different worlds, one black and one white. The Vignes twin sisters will always be identical. But after growing up together in a small, southern black community and running away at age sixteen, it's not just the shape of their daily lives that is different as adults, it's everything: their families, their communities, their racial identities. Many years later, one sister lives with her black daughter in the same southern town she once tried to escape. The other secretly passes for white, and her white husband knows nothing of her past. Still, even separated by so many miles and just as many lies, the fates of the twins remain intertwined. What will happen to the next generation, when their own daughters' storylines intersect? Weaving together multiple strands and generations of this family, from the Deep South to California, from the 1950s to the 1990s, Brit Bennett produces a story that is at once a riveting, emotional family story and a brilliant exploration of the American history of passing. Looking well beyond issues of race, The Vanishing Half considers the lasting influence of the past as it shapes a person's decisions, desires, and expectations, and explores some of the multiple reasons and realms in which people sometimes feel pulled to live as something other than their origins. As with her New York Times-bestselling debut The Mothers, Brit Bennett offers an engrossing page-turner about family and relationships that is immersive and provocative, compassionate and wise. |
| lady riefenstahl: I'm Off Then Hape Kerkeling, 2009-06-16 I'm Off Then has sold more than three million copies in Germany and has been translated into eleven languages. The number of pilgrims along the Camino has increased by 20 percent since the book was published. Hape Kerkeling's spiritual journey has struck a chord. Overweight, overworked, and disenchanted, Kerkeling was an unlikely candidate to make the arduous pilgrimage across the Pyrenees to the Spanish shrine of St. James, a 1,200-year-old journey undertaken by nearly 100,000 people every year. But he decided to get off the couch and do it anyway. Lonely and searching for meaning along the way, he began the journal that turned into this utterly frank, engaging book. Filled with unforgettable characters, historic landscapes, and Kerkeling's self-deprecating humor, I'm Off Then is an inspiring travelogue, a publishing phenomenon, and a spiritual journey unlike any other. |
| lady riefenstahl: Visual Culture in Twentieth-century Germany Gail Finney, 2006 'Visual Culture in Twentieth-Century Germany' explores a wide spectrum of visual media in 20th century Germany in their critical and social contexts. Contributors examine film, photography, cabaret performances, advertising, architecture, painting, dance, television, and cartography. |
| lady riefenstahl: In America Susan Sontag, 2000 A historical novel follows the efforts of a group of Poles, led by a famous actress, to build a utopian commune in California in the 1870s. |
| lady riefenstahl: Black Magic Woman Barbara Hales, 2021 Introduction: The occult woman as metaphor for Weimar's new woman -- The ghost -- The vampire and the monster double -- The witch and the gypsy -- The trance-dancer and medium. |
| lady riefenstahl: Seduced by Hitler Adam LeBor, Roger Boyes, 2001 A macabrely fascinating work?recommended.-Booklist |
| lady riefenstahl: Still Mad: American Women Writers and the Feminist Imagination Sandra M. Gilbert, Susan Gubar, 2021-08-17 A brilliant, sweeping history of the contemporary women’s movement told through the lives and works of the literary women who shaped it. Forty years after their first groundbreaking work of feminist literary theory, The Madwoman in the Attic, award-winning collaborators Sandra M. Gilbert and Susan Gubar map the literary history of feminism’s second wave. From its stirrings in the midcentury—when Sylvia Plath, Betty Friedan, and Joan Didion found their voices and Diane di Prima, Lorraine Hansberry, and Audre Lorde discovered community in rebellion—to a resurgence in the new millennium in the writings of Alison Bechdel, Claudia Rankine, and N. K. Jemisin, Gilbert and Gubar trace the evolution of feminist literature. They offer lucid, compassionate, and piercing readings of major works by these writers and others, including Adrienne Rich, Ursula K. Le Guin, Maxine Hong Kingston, Susan Sontag, Gloria Anzaldúa, and Toni Morrison. Activists and theorists like Nina Simone, Gloria Steinem, Andrea Dworkin, Eve Kosofsky Sedgwick, and Judith Butler also populate these pages as Gilbert and Gubar examine the overlapping terrain of literature and politics in a comprehensive portrait of an expanding movement. As Gilbert and Gubar chart feminist gains—including creative new forms of protests and changing attitudes toward gender and sexuality—they show how the legacies of second wave feminists, and the misogynistic culture they fought, extend to the present. In doing so, they celebrate the diversity and urgency of women who have turned passionate rage into powerful writing. |
| lady riefenstahl: From Caligari to Hitler Siegfried Kracauer, 2019-04-02 An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts. |
| lady riefenstahl: That Summer in Berlin Lecia Cornwall, 2022-10-11 In the summer of 1936, while the Nazis make secret plans for World War II, a courageous and daring young woman struggles to expose the lies behind the dazzling spectacle of the Berlin Olympics. German power is rising again, threatening a war that will be even worse than the last one. The English aristocracy turns to an age-old institution to stave off war and strengthen political bonds—marriage. Debutantes flock to Germany, including Viviane Alden. On holiday with her sister during the 1936 Berlin Olympics, Viviane’s true purpose is more clandestine. While many in England want to appease Hitler, others seek to prove Germany is rearming. But they need evidence, photographs to tell the tale, and Viviane is a genius with her trusty Leica. And who would suspect a pretty, young tourist taking holiday snaps of being a spy? Viviane expects to find hatred and injustice, but during the Olympics, with the world watching, Germany is on its best behavior, graciously welcoming tourists to a festival of peace and goodwill. But first impressions can be deceiving, and it’s up to Viviane and the journalist she’s paired with—a daring man with a guarded heart—to reveal the truth. But others have their own reasons for befriending Viviane, and her adventure takes a darker turn. Suddenly Viviane finds herself caught in a web of far more deadly games—and closer than she ever imagined to the brink of war. |
| lady riefenstahl: Documentary Film Carl Rollyson, 2006-11 Documentary Film: Contexts and Criticism is designed to complement Rollyson's Documentary Film: A Primer. The films discussed in this volume include Zelig, the Lumiere brothers documentaries, Nanook of the North, The Man With a Movie Camera, Triumph of the Will, Olympia, The Wonderful Horrible Life of Leni Riefenstahl, Why We Fight, Fires Were Started, and several Jill Craigie films, including an extended discussion of Two Hours From London, her controversial examination of the Balkan wars and the siege of Dubrovnik. What sets this text apart from other studies of documentary is that it includes a wide array of student comments on the films and reviews very much centered in discussions of the documentary tradition. In this same vein, Rollyson has included his essay, Jill Craigie and the Documentary Tradition exploring her relationship with John Grierson and other prominent documentary filmmakers. This dialogic text captures some of the actual give-and-take of the classroom and the range of opinion that even the best critics cannot convey. What should emerge from the reading of these comments are the different voices (mindsets) through which the films are viewed. |
| lady riefenstahl: The Material Image Brigitte Peucker, 2007 Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film's spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is real even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock's films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the bodyimages and the realare juxtaposed and entwined in a set of relations. |
| lady riefenstahl: Olympia Taylor Downing, 2017-10-07 Leni Riefenstahl's Olympia (1938) is one of the most controversial films ever made. Capitalising on the success of Triumph of the Will (1935), her propaganda film for the Nazi Party, Riefenstahl secured Hitler's approval for her grandiose plans to film the 1936 Berlin Olympics. The result was a work as notorious for its politics as celebrated for its aesthetic power. This revised edition includes new material on Riefenstahl's film-making career before Olympia and her close relationship with Hitler. Taylor Downing also discusses newly-available evidence on the background to the film's production that conclusively proves that the film was directly commissioned by Hitler and funded through Goebbels's Ministry of Propaganda and not, as Riefenstahl later claimed, commissioned independently from the Nazi state by the Olympic authorities. In writing this edition, Taylor Downing has been given access to a magnificent new restoration of the original version of the film by the International Olympic Committee. |
| lady riefenstahl: Bitch Elizabeth Wurtzel, 2012-10-17 From the author of the bestselling Prozac Nation comes one of the most entertaining feminist manifestos ever written. In five brilliant extended essays, she links the lives of women as demanding and disparate as Amy Fisher, Hillary Clinton, Margaux Hemingway, and Nicole Brown Simpson. Wurtzel gives voice to those women whose lives have been misunderstood, who have been dismissed for their beauty, their madness, their youth. Bitch is a brilliant tract on the history of manipulative female behavior. By looking at women who derive their power from their sexuality, Wurtzel offers a trenchant cultural critique of contemporary gender relations. Beginning with Delilah, the first woman to supposedly bring a great man down (latter-day Delilahs include Yoko Ono, Pam Smart, Bess Myerson), Wurtzel finds many biblical counterparts to the men and women in today's headlines. She finds in the story of Amy Fisher the tragic plight of all Lolitas, our thirst for their brief and intense flame. She connects Hemingway's tragic suicide to those of Sylvia Plath, Edie Sedgwick, and Marilyn Monroe, women whose beauty was an end, ultimately, in itself. Wurtzel, writing about the wife/mistress dichotomy, explains how some women are anointed as wife material, while others are relegated to the role of mistress. She takes to task the double standard imposed on women, the cultural insistence on goodness and society's complete obsession with badness: what's a girl to do? Let's face it, if women were any real threat to male power, Gennifer Flowers would be sitting behind the desk of the Oval Office, writes Wurtzel, and Bill Clinton would be a lounge singer in the Excelsior Hotel in Little Rock. Bitch tells a tale both celebratory and cautionary as Wurtzel catalogs some of the most infamous women in history, defending their outsize desires, describing their exquisite loneliness, championing their take-no-prisoners approach to life and to love. Whether writing about Courtney Love, Sally Hemings, Bathsheba, Kimba Wood, Sharon Stone, Princess Di--or waxing eloquent on the hideous success of The Rules, the evil that is The Bridges of Madison County, the twisted logic of You'll Never Make Love in This Town Again--Wurtzel is back with a bitchography that cuts to the core. In prose both blistering and brilliant, Bitch is a treatise on the nature of desperate sexual manipulation and a triumph of pussy power. |
| lady riefenstahl: Soulless Jim DeRogatis, 2019-06-04 The essential account of R. Kelly’s actions and their consequences, a reckoning two decades in the making In November 2000, Chicago journalist and music critic Jim DeRogatis received an anonymous fax that alleged R. Kelly had a problem with “young girls.” Weeks later, DeRogatis broke the shocking story, publishing allegations that the R&B superstar and local hero had groomed girls, sexually abused them, and paid them off. DeRogatis thought his work would have an impact. Instead, Kelly’s career flourished. No one seemed to care: not the music industry, not the culture at large, not the parents of numerous other young girls. But for more than eighteen years, DeRogatis stayed on the story. He was the one who was given the disturbing videotape that led to Kelly’s 2008 child pornography trial, the one whose window was shot out, and the one whom women trusted to tell their stories—of a meeting with the superstar at a classroom, a mall, a concert, or a McDonald’s that forever warped the course of their lives. Soulless: The Case Against R. Kelly is DeRogatis’s masterpiece, a work of tenacious journalism and powerful cultural criticism. It tells the story of Kelly’s career, DeRogatis’s investigations, and the world in which the two crossed paths, and brings the story up to the moment when things finally seem to have changed. Decades in the making, this is an outrageous, darkly riveting account of the life and actions of R. Kelly, and their horrible impact on dozens of girls, by the only person to tell it. |
| lady riefenstahl: Hollywood and Hitler, 1933-1939 Thomas Doherty, 2013-04-02 Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of a Hollywood girl in Naziland!; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939). |
| lady riefenstahl: Hitler Ernst Hanfstaengl, 2011-08-01 Of American and German parentage, Ernst Hanfstaengl graduated from Harvard and ran the family business in New York for a dozen years before returning to Germany in 1921. By chance he heard a then little-known Adolf Hitler speaking in a Munich beer hall and, mesmerized by his extraordinary oratorical power, was convinced the man would some day come to power. As Hitler’s fanatical theories and ideas hardened, however, he surrounded himself with rabid extremists such as Goering, Hess, and Goebbels, and Hanfstaengl became estranged from him. But with the Nazi’s major unexpected political triumph in 1930, Hitler became a national figure, and he invited Hanfstaengl to be his foreign press secretary. It is from this unique insider’s position that the author provides a vivid, intimate view of Hitler—with his neuroses, repressions, and growing megalomania—over the next several years. In 1937, four years after Hitler came to power, relations between Hanfstaengl and the Nazis had deteriorated to such a degree that he was forced to flee for his life, escaping to Switzerland. Here is a portrait of Hitler as you’ve rarely seen him. |
| lady riefenstahl: The Virginia Quarterly Review , 2012 |
| lady riefenstahl: Ski , 2001-02 |
| lady riefenstahl: Mennonite Meets Mr. Right Rhoda Janzen, 2012-05-01 At the end of her bestselling memoir Mennonite in a Little Black Dress, Rhoda Janzen had reconnected with her family roots, though her future felt uncertain. When this overeducated professor starts dating the most unlikely of men-a weight-liftin', church-goin', truck-drivin' rocker named Mitch-she begins a surprising journey to faith and love. Nothing says, Let's get to know each other! like lady problems on an epic scale, but Mitch vows to stay by her side. Convinced that his bedrock character has something to do with his Pentecostal church, Rhoda suits up for a brave new world of sparkler pom-poms and hand-clappin' hallelujahs. Written with her trademark uproarious, bawdy sense of humor (Minneapolis Star-Tribune), Mennonite Meets Mr. Right is witty and moving, perfect for anyone who has taken an unexpected detour only to find that new roads lead to rich destinations. |
| lady riefenstahl: Classical Literature on Screen Martin M. Winkler, 2017-09-14 This book examines different affinities between major classical authors and great filmmakers alongside representations of ancient myth and history in popular cinema. |
Origin of "milady" - English Language & Usage Stack Exchange
Sep 22, 2011 · According to the Oxford English Dictionary, milady emerged in 1778 that partially came from French: Partly < French milady , title used when addressing or speaking of an …
single word requests - Is there an opposite gender for "lady ...
Jul 19, 2023 · Lady comes from an Old English compound noun meaning roughly "loaf kneader," whereas lord comes from a compound noun meaning "loaf keeper" or "loaf protector." The …
"Gentleman" is to "male" as what is to "female"? [duplicate]
@rbhattarai Sometimes "real lady" means "having female organs" in addition to identifying as female. Pretty much anything involving gender is a wide, deep and densely packed minefield …
Lady's Ladies' or ladies - English Language & Usage Stack Exchange
Feb 22, 2019 · "Lady" is singular, so if you were referring solely to one woman's shoes, it would be "the lady's shoes." As for your second question, I'm assuming you're referring to a group of …
meaning - Can you still call a woman "handsome"? - English …
Right, I have heard it being used in the manner you've talked about before, but I wasn't sure if there was a hidden subtext of irony there or not. A kind of delicate way to say "that woman …
Why "ladybird"? - English Language & Usage Stack Exchange
Nov 22, 2010 · Mary (Our Lady) was often depicted wearing a red cloak in early paintings and the spots of the seven spot ladybird (the most common in Europe) were said to symbolise her …
What is a female or gender neutral form of gentleman that relays …
@JanusBahsJacquet I would disagree. Lady has always had paternalistic connotations, for hundreds of years. In fact, it still does, even in other languages, e.g. madame from French --> …
Correct use of possession for the plural 'ladies' [closed]
Ladies is the plural form of lady, so the apostrophe goes to the right - ladies'. If you are wondering why we don't write ladies's, it is because ladies is one of the exceptions, along with girls', …
Where did Shakespeare get 'milk of human kindness' from?
Jul 13, 2019 · Lady Macbeth wants to substitute her milk (which would nourish a kid) for gall, which today would mean boldness and impertinence, but also refers to bile (Merriam …
Is there any female equivalent to ‘Esq’ or ‘Esquire’?
Jul 13, 2016 · The short answer is no.. The long answer: First, from Wikipedia, Esquire. British men invited to Buckingham Palace receive their invitations in an envelope with the suffix Esq. …
Origin of "milady" - English Language & Usage Stack Exchange
Sep 22, 2011 · According to the Oxford English Dictionary, milady emerged in 1778 that partially came from French: Partly < French milady , title used when addressing or speaking of an …
single word requests - Is there an opposite gender for "lady ...
Jul 19, 2023 · Lady comes from an Old English compound noun meaning roughly "loaf kneader," whereas lord comes from a compound noun meaning "loaf keeper" or "loaf protector." The …
"Gentleman" is to "male" as what is to "female"? [duplicate]
@rbhattarai Sometimes "real lady" means "having female organs" in addition to identifying as female. Pretty much anything involving gender is a wide, deep and densely packed minefield …
Lady's Ladies' or ladies - English Language & Usage Stack Exchange
Feb 22, 2019 · "Lady" is singular, so if you were referring solely to one woman's shoes, it would be "the lady's shoes." As for your second question, I'm assuming you're referring to a group of …
meaning - Can you still call a woman "handsome"? - English …
Right, I have heard it being used in the manner you've talked about before, but I wasn't sure if there was a hidden subtext of irony there or not. A kind of delicate way to say "that woman …
Why "ladybird"? - English Language & Usage Stack Exchange
Nov 22, 2010 · Mary (Our Lady) was often depicted wearing a red cloak in early paintings and the spots of the seven spot ladybird (the most common in Europe) were said to symbolise her …
What is a female or gender neutral form of gentleman that relays …
@JanusBahsJacquet I would disagree. Lady has always had paternalistic connotations, for hundreds of years. In fact, it still does, even in other languages, e.g. madame from French --> …
Correct use of possession for the plural 'ladies' [closed]
Ladies is the plural form of lady, so the apostrophe goes to the right - ladies'. If you are wondering why we don't write ladies's, it is because ladies is one of the exceptions, along with girls', …
Where did Shakespeare get 'milk of human kindness' from?
Jul 13, 2019 · Lady Macbeth wants to substitute her milk (which would nourish a kid) for gall, which today would mean boldness and impertinence, but also refers to bile (Merriam …
Is there any female equivalent to ‘Esq’ or ‘Esquire’?
Jul 13, 2016 · The short answer is no.. The long answer: First, from Wikipedia, Esquire. British men invited to Buckingham Palace receive their invitations in an envelope with the suffix Esq. …
