Schönheit im Olympischen Kampf, Berlin, 1937. Hinter den Kulissen des Reichsparteitagsfilms, Munich, 1935 (uncredited ghost writer Ernst Jaeger). Tiefland ( Lowland) (+ sc, ed, role as Marta) (released 1954) Films as Actress: 1926ĭas Schiscksal derer von Hapsburg (Raffé) Die weisses Hölle vom Piz Palü (Fanck) 1930ĭie Macht der Bilder: Leni Riefenstahl ( The Power of the Image: Leni Riefenstahl) (Müller) (role as herself) 1995ĭie Nacht der Regisseure ( Night of the Filmmakers) (Reitz) (role as herself) Publications By RIEFENSTAHL: books. Olympia ( Olympische Spiele 1936) (+ sc, co-ph, ed) 1944 Triumph des Willens ( Triumph of the Will) (+ pr, ed) Tag der Freiheit: unsere Wermacht (+ ed) 1938 ![]() Sieg des Glaubens ( Victory of the Faith) 1935 Films as Director: 1932ĭas blaue Licht ( The Blue Light) (+ co-sc, role as Junta) 1933 Address: 20 Tengstrasse, 8000 Munich 40, Germany. Awards: Silver Medal, Venice Festival, for Das Blaue Licht, 1932 Exposition Internationale des Arts et des Techniques, Paris, Diplome de Grand Prix, for Triumph des Willens, 1937 Polar Prize, Sweden, for Olympia, 1938. Career: Dancer, from 1920 appeared in "mountain films" directed by Arnold Franck, from 1936 established own production company, Riefenstahl Films, 1931 first film, Das blaue Licht, released, 1932 appointed "film expert to the National Socialist Party" by Hitler, 1933 detained in various prison camps by Allied Forces on charges of pro-Nazi activity, 1945–48 charges dismissed by Berlin court, allowed to work in film industry again, 1952 suffered serious auto accident while working in Africa, 1956 commissioned by The Times (London) to photograph the Munich Olympics, 1972 honored at Telluride Film Festival, Colorado (festival picketed by anti-Nazi groups), 1974 was the subject of the documentary The Wonderful, Horrible Life of Leni Riefenstahl, directed by Ray Muller, 1993. Family: Married Peter Jacob, 1944 (divorced 1946). Education: Studied Russian Ballet at the Mary Wigmann School for Dance, Dresden, and Jutta Klamt School for Dance, Berlin. Born: Helene Berta Amalie Riefenstahl in Berlin, 22 August 1902. Published in 2002, edited and luxuriously designed by Christian Diener, this portfolio of thirty prints created using the elaborate dye-transfer process comprises the most important and best-known photographs from the Nuba series.Nationality: German. In 1973, her first illustrated book Die Nuba - Menschen wie von einem anderen Stern was published, in 1976, the second volume Die Nuba von Kau followed, in 1983, the third Mein Afrika. Leni Riefenstahl's photographs of the Nuba, which were taken over a period of fifteen years, quickly gained recognition from the international press and were published many times, for example in Stern, the French Paris Match, or the American Life Magazine. The photographer depicts the fighters armed with spears from a slightly lower perspective, causing the lavishly painted faces of women and men in full-format portraits to have a somewhat heroic, monumental effect, or lets their ash-dusted bodies to enter into a finely nuanced hue with the light blue of the sky. Here Riefenstahl proves herself to be an artist who masters the handling of perspective, space, and colour perfectly and is able to transform what she sees into timeless, captivatingly beautiful images. Despite all the significance the work has from an anthropological and ethnological point of view, the photographs go far beyond the documentary. In addition to everyday scenes, she captured the ritual wrestling matches characteristic of the tribe and the expressive body painting of the tribe members. ![]() In 1962, Riefenstahl set off to Sudan for the first time where she met one of the numerous Nuba tribes, the Masakin-Qisar, whom she accompanied with her camera for several months. In their idealising representation of the human body, emphasizing its physical strength and flawless elegance, the images of the Olympic athletes and the Nuba tribal members are closely related on an aesthetic level. Leni Riefenstahl's series of the Nuba depicts, in addition to her film shots and photographs that were created on the occasion of the 1936 Olympic Games, the series of works upon which her reputation as a photographer is essentially based. However, only 7 portfolio sets were entirely preserved and completely sold. Originally, 15 copies of the portfolio were created.
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