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| leni riefenstahl nuba photography: The Last of the Nuba Leni Riefenstahl, 1974 First published in 1973 and long since out of print, a classic photo essay about life among Africa's Nuba tribe, by one of the century's foremost film directors, is presented in an impressive full-color gift edition. |
| leni riefenstahl nuba photography: Coral Gardens Leni Riefenstahl, 1978 |
| leni riefenstahl nuba photography: People of Kau Leni Riefenstahl, 1997 The Nuba of Kau, known as the 'South East Nuba', live only a hundred miles away from the gentle and peace-loving Mesakin Nuba observed by Leni Riefenstahl in her first book. Yet they speak another language, follow different customs, and are very different in character and temperament. The knife-fights, dances of love and elaborately painted Picassoesque faces and bodies captured in the images of People of Kau show a wild and passionate people, unlike any other on earth today. Leni Riefenstahl, legendary film-maker and photographer, spent sixteen sweltering weeks with the Nuba of Kau in 1975, weeks she herself describes as 'a time of almost intolerable hardship and exertion.' Yet from those weeks emerged the extraordinary photographs that make up this ground-breaking monograph. People of Kau bears magnificent witness to a remarkable tribe menaced by the advance of industrial civilisation and sinking slowly into the mists of time. |
| leni riefenstahl nuba photography: Dietrich & Riefenstahl: Hollywood, Berlin, and a Century in Two Lives Karin Wieland, 2015-10-05 Finalist for the National Book Critics Circle Award (Biography) Named of the Best Books of the Year by the Washington Post and the Boston Globe Magisterial in scope, this dual biography examines two complex lives that began alike but ended on opposite sides of the century’s greatest conflict. Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich’s Berlin apartment. Coming of age at the dawn of the Weimar Republic, both sought fame in Germany’s burgeoning motion picture industry. While Dietrich’s depiction of Lola-Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl—who missed out on the part—insinuated herself into Hitler’s inner circle to direct groundbreaking if infamous Nazi propaganda films, like Triumph of the Will. Dietrich, who toured tirelessly with the USO, could never truly go home again; Riefenstahl could never shake her Nazi past. Acclaimed German historian Karin Wieland examines these lives within the vicious crosscurrents of a turbulent century, evoking piercing insights into the modern era’s most difficult questions, about illusion and mass intoxication, art and truth, courage and capitulation (New Yorker). |
| leni riefenstahl nuba photography: 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. |
| leni riefenstahl nuba photography: 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. |
| leni riefenstahl nuba photography: Leni Riefenstahl Jürgen Trimborn, 2008-01-22 Dancer, actress, mountaineer, and director Leni Riefenstahl's uncompromising will and audacious talent for self-promotion appeared unmatched—until 1932, when she introduced herself to her future protector and patron: Adolf Hitler. Known internationally for two of the films she made for him, Triumph of the Will and Olympia, Riefenstahl's demanding and obsessive style introduced unusual angles, new approaches to tracking shots, and highly symbolic montages. Despite her lifelong claim to be an apolitical artist, Riefenstahl's monumental and nationalistic vision of Germany's traditions and landscape served to idealize the cause of one of the world's most violent and racist regimes. Riefenstahl ardently cast herself as a passionate young director who caved to the pressure to serve an all-powerful Führer, so focused on reinventing the cinema that she didn't recognize the goals of the Third Reich until too late. Jürgen Trimborn's revelatory biography celebrates this charismatic and adventurous woman who lived to 101, while also taking on the myths surrounding her. With refreshing distance and detailed research, Trimborn presents the story of a stubborn and intimidating filmmaker who refused to be held accountable for her role in the Holocaust but continued to inspire countless photographers and filmmakers with her artistry. |
| leni riefenstahl nuba photography: Riefenstahl Screened Neil Christian Pages, Mary Rhiel, Ingeborg Majer O'Sickey, 2008-01-01 Leni Riefenstahl is larger than life. From the lure of her persona as it enters our homes via television to our pleasure in the recognition of her film images at rock concerts, to her place as part of the history of the Nazi period, Riefenstahl lives on in our imagination and in our cultural productions. Thus, the editors' introduction to this volume examines the manner in which Riefenstahl 'haunts' debates on aesthetics and politics, and how her legacy reverberates in the contemporary cultural scene. The editors view the collection as a three-part framework. The essays in the opening section of the book show that Riefenstahl is still very much alive and well and controversial in popular culture. Her films continue to determine the way in which we think about the Nazi period, providing instantly recognizable images and messages that often go unquestioned. We cannot separate these phenomena from Riefenstahl's years of avid self-fashioning. The second section of the book offers treatments of the shifting, mobile relationship between Riefenstahl's stubborn attempts to create and control her personae and her reactions to others' re-appropriations of the meanings of her life and work. Reading the texts and discourses surrounding 'Riefenstahl, ' these scholars treat her memoirs - and her repeated assertions about herself as a springboard into understanding anew how we might approach her films in a productive way. The closing section of the volume comprises essays that go right to the heart of the matter: Riefenstahl's films and photography. The new contexts theoretical discussions and emerging discourses that animate these essays include Scarry's treatise on beauty, justice and the global, the problems of history and memory, the place of Riefenstahl's filmmaking technique in contemporary cinema, and her appropriation of German musical traditions. Fueled by the work of a diverse range of scholars, then, Riefenstahl Screened offers an opportunity to rethink the place of Leni Riefenstahl and her work in contemporary culture and in academic discourse. It insists upon a critical self-examination that maps a topography of how scholars and teachers avail themselves of Riefenstahl's corpus. |
| leni riefenstahl nuba photography: Los nuba Leni Riefenstahl, 1978 |
| leni riefenstahl nuba photography: Village of the Nubas George Rodger, 1999 A unique and highly influential photographic documentation of African life. |
| leni riefenstahl nuba photography: Nuba & Latuka Aaron Schuman, Chris Steele-Perkins, 2017 This classic series by legendary Magnum photographer George Rodger introduced the Western world to the Nuba peoples of Sudan. In 1949 the photographer and co-founder of Magnum Photos, George Rodger, learned of the Nuba tribe while traveling in the Kordofan region of the Sudan. Remarkably, he was granted permission by the Sudanese government to take pictures of these striking people, who lived as their ancestors had centuries before. After publication in National Geographic magazine, these pictures--as well as Rodger's fascinating journal entries from the shoot--have not been available to the wider public. Now, Rodger's rare softly colored Kodachrome images are gathered in a sumptuous volume, and introduced in an essay by photographer Chris Steele-Perkins. Beautifully reproduced, Rodger's photographs emphasize the muted colors of the Sudanese landscape as well as the Nuba's penchant for vivid body paint, clothing, and jewelry. They are a superb example of early color photography, and a stunning celebration of a little-known tribe that lives in one of the world's harshest environments. |
| leni riefenstahl nuba photography: African and Diaspora Aesthetics Sarah Nuttall, 2006 In Cameroon, a monumental statue of liberty is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising morality plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly African aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès |
| leni riefenstahl nuba photography: Bernatzik Kevin Conru, Hugo Adolf Bernatzik, Margarett Loke, 2003 A collection of beautiful and rare photographs from the continent of Africa |
| leni riefenstahl nuba photography: After Photography Fred Ritchin, 2010 A survey of the ways in which digital technology has altered the way visual information is dispersed and experienced presents arguments for using new technological opportunities as a vehicle for understanding today's changing world. |
| leni riefenstahl nuba photography: Under the Sign of Saturn Susan Sontag, 2013-05-16 Susan Sontag's third essay collection brings together her most important critical writing from 1972 to 1980. In these provocative and hugely influential works she explores some of the most controversial artists and thinkers of our time, including her now-famous polemic against Hitler's favourite film-maker, Leni Riefenstahl, and the cult of fascist art, as well as a dazzling analysis of Hans-Jürgen Syberberg's Hitler, a Film from Germany. There are also highly personal and powerful explorations of death, art, language, history, the imagination and writing itself. |
| leni riefenstahl nuba photography: Leni Riefenstahl Rainer Rother, 2003-10-01 Leni Riefenstahl, now aged 101, achieved fame as a dancer, actress photographer, and director, but her entire career is colored by her association with the Nazi party. This overt tension between the political meaning of her work for National Socialism and its essential aesthetic quality forms the basis of the compelling account. Appointed by Hitler, Leni Riefenstahl directed the Nazi propaganda film Triumph des Willens along with her bestknown work Olympia, a documentary of the 1936 Berlin Olympics. By 1939 Riefenstahl was arguably the most famous women film director in the world; yet, after World War II, she was never again accepted as a filmmaker. Rainer Rother's book is a remarkable account of the fascinating life and work of Germany's most controversial photographer and filmmaker. |
| leni riefenstahl nuba photography: George Rodger Carole Naggar, 2003-10-01 He was a trailblazing twentieth-century British photojournalist but George Rodger lived in the adventurous tradition of nineteenth-century explorers. Cofounding Magnum Photos in 1947 with Henri Cartier-Bresson and Robert Capa, the modest Rodger was eclipsed by his partnersuntil now. Rodger's Indiana Jones-style escapades are legendary and worth the telling. He once covered over 75,000 miles of old Africa in a Land Rover. He even survived a white rhino charge. He went on to become a key photographer of African tribal life. During World War II he covered sixty-one countries for Life magazine. He was chased through three hundred miles of Burmese jungles by both the Japanese army and a tribe of headhunters. And he was the first to record the liberation of the Bergen-Belsen concentration camp. He quit photography when he realized he was arranging thousands of Jewish corpses in nice photographic compositions. In fascinating detail Carol Naggar not only recalls Roger's singular life and artistic contribution, but she also provides an in-depth look at the complex dynamics of ethics, violence, and photojournalism. As such, it places the legacy of George Rodger within a broader sociohistorical context. |
| leni riefenstahl nuba photography: The Films of Leni Riefenstahl David B. Hinton, 2000 With access to Leni Riefenstahl's personal archives and film collection, the author explores the contraversial filmmaker's career. |
| leni riefenstahl nuba photography: Natural Visions Finis Dunaway, 2016-12-20 Walden Pond. The Grand Canyon.Yosemite National Park. Throughout the twentieth century, photographers and filmmakers created unforgettable images of these and other American natural treasures. Many of these images, including the work of Ansel Adams, continue to occupy a prominent place in the American imagination. Making these representations, though, was more than a purely aesthetic project. In fact, portraying majestic scenes and threatened places galvanized concern for the environment and its protection. Natural Visions documents through images the history of environmental reform from the Progressive era to the first Earth Day celebration in 1970, showing the crucial role the camera played in the development of the conservation movement. In Natural Visions, Finis Dunaway tells the story of how visual imagery—such as wilderness photographs, New Deal documentary films, and Sierra Club coffee-table books—shaped modern perceptions of the natural world. By examining the relationship between the camera and environmental politics through detailed studies of key artists and activists, Dunaway captures the emotional and spiritual meaning that became associated with the American landscape. Throughout the book, he reveals how photographers and filmmakers adapted longstanding traditions in American culture—the Puritan jeremiad, the romantic sublime, and the frontier myth—to literally picture nature as a place of grace for the individual and the nation. Beautifully illustrated with photographs by Ansel Adams, Eliot Porter, and a host of other artists, Natural Visions will appeal to a wide range of readers interested in American cultural history, the visual arts, and environmentalism. |
| leni riefenstahl nuba photography: Leni Riefenstahl's Africa , 1982 |
| leni riefenstahl nuba photography: Sahel: Art and Empires on the Shores of the Sahara Alisa LaGamma, Yaëlle Biro, Mamadou Cissé, David C. Conrad, Souleymane Bachir Diagne, Roderick McIntosh, Paulo F. de Moraes Farias, Giulia Paoletti, Ibrahima Thiaw, 2020 This groundbreaking volume examines the extraordinary artistic and cultural traditions of the African region known as the western Sahel, a vast area on the southern edge of the Sahara desert that includes present-day Senegal, Mauritania, Mali, and Niger. This is the first book to present a comprehensive overview of the diverse cultural achievements and traditions of the region, spanning more than 1,300 years from the pre Islamic period through the nineteenth century. It features some of the earliest extant art from sub Saharan Africa as well as such iconic works as sculptures by the Dogon and Bamana peoples of Mali. Essays by leading international scholars discuss the art, architecture, archaeology, literature, philosophy, religion, and history of the Sahel, exploring the unique cultural landscape in which these ancient communities flourished. Richly illustrated and brilliantly argued, Sahel brings to life the enduring forms of expression created by the peoples who lived in this diverse crossroads of the world. |
| leni riefenstahl nuba photography: The Painted Body Michel Thévoz, 1984 Man is distinguished from animals by a self-retouching impulse, an urge to remake his own body. This book surveys and illustrates the different kinds of body decoration, such as painting, make-up, tattooing, and scarring, which have been practiced all over the world from prehistoric times to the Body Art and cosmetics of today. The social implications are spelled out in detail. |
| leni riefenstahl nuba photography: Vanishing Africa Mirella Ricciardi, 1971 |
| leni riefenstahl nuba photography: In the Presence of Mine Enemies Harry Turtledove, 2013-08-29 Heinrich Gimpel is a respected officer with the Oberkommando Wehrmachts office in Berlin. His wife is a common hausfrau, raising his three precious daughters the same way he was raised - to be loyal, unquestioning citizens of the Third Reich, obedient to the will of the Führer. But Heinrich Gimpel has a secret. He is not, in fact, a member of the Master Race. He has been living a lie to protect his true identity as a Jew - and he's not alone. Throughout Berlin, Jews survive in secrecy...doing their jobs, caring for their families, maintaining the facade of perfect Aryans, and praying they will not be discovered. But a change is coming. And soon they will be forced to choose between safety and freedom... |
| leni riefenstahl nuba photography: Come Bury Me Andrej Krementschouk, 2010 Following the success of his prize-winning book No Direction Home (Kehrer, 2009), the recipient of the 2010 German Photo Book Award, Krementschouk tells the story of his homeland and the stark realities of homelessness. The setting is a dilapidated cottage in a small Russian town, where a group of people have made a home for themselves on the fringes of society. They invited Krementschouk into their world, where he captured a moving blend of despair and addiction coupled with warmth and affection, creating what is now a lasting document of a community lost. |
| leni riefenstahl nuba photography: Photography in the Third Reich: Art, Physiognomy and Propaganda Christopher Webster, 2021-01-07 This lucid and comprehensive collection of essays by an international group of scholars constitutes a photo-historical survey of select photographers who embraced National Socialism during the Third Reich. These photographers developed and implemented physiognomic and ethnographic photography, and, through a Selbstgleichschaltung (a self-co-ordination with the regime), continued to practice as photographers throughout the twelve years of the Third Reich. The volume explores, through photographic reproductions and accompanying analysis, diverse aspects of photography during the Third Reich, ranging from the influence of Modernism, the qualitative effect of propaganda photography, and the utilisation of technology such as colour film, to the photograph as ideological metaphor. With an emphasis on the idealised representation of the German body and the role of physiognomy within this representation, the book examines how select photographers created and developed a visual myth of the ‘master race’ and its antitheses under the auspices of the Nationalist Socialist state. Photography in the Third Reich approaches its historical source photographs as material culture, examining their production, construction and proliferation. This detailed and informative text will be a valuable resource not only to historians studying the Third Reich, but to scholars and students of film, history of art, politics, media studies, cultural studies and holocaust studies. |
| leni riefenstahl nuba photography: Encyclopedia of Twentieth-Century Photography, 3-Volume Set Lynne Warren, 2005-11-15 The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included. |
| leni riefenstahl nuba photography: Our Secret Life in the Movies Michael McGriff, J. M. Tyree, 2014-10-04 A whip-smart fiction debut, Our Secret Life in the Movies riffs on classic and cult cinema. Inspired by films from silent-era documentaries to music videos, the authors unfold a dual narrative about two boys growing up in the 1980s. Coming of age during the last days of the Cold War, these boys dream of space exploration and nuclear winter, Reaganomics and Dungeons & Dragons, Blade Runner and Red Dawn. Haunting, cinematic, and full of life, Our Secret Life makes it clear that we are in the movies and the movies are in us. |
| leni riefenstahl nuba photography: The Man with the Iron Heart Harry Turtledove, 2009-07-28 What if V-E Day hadn’t ended World War II in Europe? What if, instead, the Allies had to face a potent, even fanatical, postwar Nazi resistance? Such a movement, based in the fabled Alpine Redoubt, was in fact a real threat, ultimately neutralized by Germany’s flagging resources and squabbling officials. But had SS Obergruppenführer Reinhard Heydrich, the notorious Man with the Iron Heart, not been assassinated in 1942, fate might have taken a different turn. In this imagined world, Nazi forces launch a guerrilla war, using the quick and dirty tactics of terrorism to overturn what seemed to be a decisive victory. Suddenly the Allies–especially the United States–are mired in a long, seemingly unwinnable conflict while battling an invisible, unrelenting enemy. |
| leni riefenstahl nuba photography: American Photo , 2001-03 |
| leni riefenstahl nuba photography: Photography in Print Vicki Goldberg, 1990 |
| leni riefenstahl nuba photography: Fashion Cathy Newman, 2003 Explores clothing and adornment from a global perspective. |
| leni riefenstahl nuba photography: Photography and African Studies , 2001 |
| leni riefenstahl nuba photography: Fifty Key Writers on Photography Mark Durden, 2013-02-15 A clear and concise survey of some of the most significant writers on photography who have played a major part in defining and influencing our understanding of the medium. It provides a succinct overview of writing on photography from a diverse range of disciplines and perspectives and examines the shifting perception of the medium over the course of its 170 year history. Key writers discussed include: Roland Barthes Susan Sontag Jacques Derrida Henri Cartier-Bresson Geoffrey Batchen Fully cross-referenced and in an A-Z format, this is an accessible and engaging introductory guide. |
| leni riefenstahl nuba photography: African Ceremonies Angela Fisher, 2010 |
| leni riefenstahl nuba photography: Navajo and Photography James C. Faris, 1996 This thorough critical examination of photographic practices calls attention to the inability of most photography to communicate the lived experiences of native people or their history. Faris's survey, beginning with the earliest photographs of Navajos in captivity at the Bosque Redondo and including the most recent glossy picture books and calendars, points up the western assumptions that have always governed photographic representation of Navajo people. Drawing on exhaustive archival research to unearth rarely published photographs as well as unpublished photographs by well-known photographers, Faris documents Navajo resistance to the West's view (and viewfinder) and persistent attempts to overcome or dismiss such resistance. He challenges the photographic history of the Navajo people as presented by photographers, historians, and anthropologists, and explores the social and legal conditions that make such photography possible. Confronting many readers' nostalgic expectations, Navajo and Photography will appeal to all those with an interest in the juxtaposition of cultures. |
| leni riefenstahl nuba photography: A Writer's Eye: Collected Book Reviews Welty, Eudora, 1994 Although she is eminent primarily as the prize-winning author of classic works of fiction, Eudora Welty is notable also as an astute literary critic. Her essays on the art of fiction and on the writers who enlarged the range of the short story and the novel are definitive pieces. Her distinguished book reviews, along with her critical essays, augment her reputation for being one of the most discerning author-critics in literary America. This collection of her book reviews manifests the connecting of her penetrating eye with her responsive intellect in forming sympathetic judgments of the books she reviewed. Between 1942 and 1984 Welty wrote sixty-seven reviews of seventy-four books. Fifty-eight of these appeared in the New York Times Book Review, and others in the Saturday Review of Literature, Tomorrow, the Hudson Review, the New York Post, and the Sewanee Review. The reviewed books include novels, short story collections, books of essays, biographies and memoirs, books of letters, children's books, books of ghost stories, photography books, books of literary criticism, and books of World War II art. Over nearly half a century she reviewed books by some of the foremost authors of her time - Virginia Woolf, William Faulkner, V.S. Pritchett, Colette, Isak Dinesen, E.B. White, E.M. Forster, J.D. Salinger, Ross Macdonald, Patrick White, S.J. Perelman, Annie Dillard, Elizabeth Bowen, and Katherine Anne Porter. A Writer's Eye includes all of Welty's book reviews, even one published in the New York Times Book Review under the pseudonym Michael Ravenna. Sixteen of the reviews were collected previously in Welty's The Eye of the Story (1978). In this collection Pearl Amelia McHaney's introduction records the history of Welty's career in book reviewing and illuminates the honesty and compassion with which Welty wrote reviews. Welty's keen vision, her wit, and her refined style make these monuments to interruption, a phrase she wrote in description of Virginia Woolf's essays and reviews, an important record of her literary standards and special interests. They show as well how book reviewing consumed a large measure of creative time that she customarily devoted to fiction writing. Placed beside her authoritative critical essays, this volume enhances Welty's considerable literary stature and completes the image of Eudora Welty as a consummate woman of letters. |
| leni riefenstahl nuba photography: The Tender Gaze Muriel Cormican, Jennifer Marston William, 2021 By exploring the concept of the tender gaze in German film, theater, and literature, this volume's contributors illustrate how perspective-taking in works of art fosters empathy and prosocial behaviors. |
| leni riefenstahl nuba photography: Anthropological Filmmaking J.R Rollwagen, 2014-06-03 First Published in 1988. Visual Anthropology is a book series devoted to the illumination of the human condition through a systematic examination of all that is made to be seen. It is our intention to demonstrate the value of an anthropological approach to the study of the visual and pictorial world. The anthropological filmmaker, just like the ethnographer, must be content to present something about a dynamic process at a particular moment in time regardless of the fact that all of the variables are constantly in flux. The purpose of this work is to make available a collection of articles by individuals who are both anthropologists and filmmakers. |
Leni Klum - Wikipedia
Leni Olumi Klum (born May 4, 2004) is a German-American fashion model. She is the oldest child of Heidi Klum and Flavio Briatore, the adopted daughter of Seal, …
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Leni L. Loud is a main character in The Loud House and a minor character in The Casagrandes. At 17-years-old (16-years-old before Season 5), Leni is the …
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Sep 6, 2023 · Heidi Klum and her oldest child, Leni Olumi Klum, live up to the phrase “like mother, like daughter.” Born in May 2004 in New York City, Leni is a …
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Leni Klum - Wikipedia
Leni Olumi Klum (born May 4, 2004) is a German-American fashion model. She is the oldest child of Heidi Klum and Flavio Briatore, the adopted daughter of Seal, and the step-daughter of Tom …
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At 20, she’s making waves as a model in New York — on her own terms and nothing like your typical nepo baby. 💭 Leni opens up to GLAMOUR about the power of family, her passion with interior …
Leni Loud | The Loud House Encyclopedia | Fandom
Leni L. Loud is a main character in The Loud House and a minor character in The Casagrandes. At 17-years-old (16-years-old before Season 5), Leni is the second oldest child of the Loud family. …
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Sep 6, 2023 · Heidi Klum and her oldest child, Leni Olumi Klum, live up to the phrase “like mother, like daughter.” Born in May 2004 in New York City, Leni is a model like her mom and made her …
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Leni - Baby Name Meaning, Origin, and Popularity
Jun 8, 2025 · The name Leni is a girl's name of German origin meaning "shining torch". An up-and-coming nickname-style name, hugely popular in Germany and on the rise in the UK, Leni is stylish …
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Leni Klum, a name that has been making waves in the modeling world, is more than just the daughter of the iconic supermodel Heidi Klum. Born into a family that exudes glamour and talent, …
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Leni (name) - Wikipedia
Look up Leni or leni in Wiktionary, the free dictionary. Leni is both a given name and a surname. Notable people with the name include: Male and female:
