scholarly journals Leni Riefenstahl Sinemasını Tartışmak

2021 ◽  
Vol 13 (3) ◽  
pp. 790-815
Author(s):  
Oya Kasap Ortaklan
Keyword(s):  
Leni Riefenstahl

Esthé n’est ni être ni éthique. Ou l'esthétique de Leni Riefenstahl

Chimères ◽  
1997 ◽  
Vol 30 (1) ◽  
pp. 183-185
Author(s):  
Isabelle Pivron
Keyword(s):  
Leni Riefenstahl

scholarly journals La mujer y la naturaleza en Terra baixa de Àngel Guimerà, en la ópera Tiefland de Eugen d’Albert y Rudolph Lothar y en el film Tiefland de Leni Riefenstahl

2015 ◽  
pp. 54-76
Author(s):  
Maridès Soler
Keyword(s):  
Leni Riefenstahl

En este estudio se investiga la trasposición del drama rural catalán Terra baixa, de Àngel Guimerà, en la ópera verista y en la película del mismo nombre, ambas alemanas. Además de las peculiaridades inherentes a cada medio, se analiza en detalle el papel de la mujer y de la naturaleza (animales, montañas, agua, temporal) teniendo en cuenta las perspectivas y expectaciones de la sociedad de cada época ante esos temas, desde el estreno del drama en 1897 hasta el del film de 1953.

scholarly journals O discurso ideológico de Olympia

2012 ◽  
Vol 22 (2) ◽  
pp. 137-149
Author(s):  
Luiz Nazario
Keyword(s):  
Leni Riefenstahl

Os Jogos Olímpicos de 1936 em Berlim politizaram o esporte como nunca antes, transformando os 4.069 atletas dos 49 países participantes em peças manipuladas da gigantesca máquina de propaganda, para o orgulho da triunfante Alemanha sob o regime nazista, cujos valores eternos foram sublimados com extraordinário sucesso em Olympia (1938), de Leni Riefenstahl.

Leni Riefenstahl und Susan Sontag: Gibt es im Sport eine faschistische Ästhetik?

2013 ◽  
Vol 131 (1) ◽  
pp. 76-99 ◽  
Author(s):  
Heide Ziegler
Keyword(s):  
Cultural Context ◽  
Olympic Games ◽  
Hard Data ◽  
Sports Events ◽  
Susan Sontag ◽  
European Thought ◽  
Leni Riefenstahl ◽  
The U.S

Abstract Susan Sontag, in a famous essay called “Fascinating Fascism”, first published in 1974, argues that Leni Riefenstahl, who by that time had made a conspicuous come-back as a photographer in the U.S., had always and would always adhere to fascist aesthetics. This essay seeks to demonstrate that as early as 1936, when Riefenstahl began to work on her film Olympia (1938), she had already discarded fascist aesthetics and replaced it by a yearning for what Dreyfus and Kelly, in their important 2011 study, All Things Shining, would call the secular transcendence attaching to sports events that involve top athletes. Since Riefenstahl wanted, and actually managed, to capture such moments of secular transcendence during the 1936 Olympic Games in Berlin through her technical perfection as a film director, she had already implicitly begun to enter on a career which - if we allow for David Foster Wallace’s belief that top athletes fascinate Americans by appealing to their twin obsessions with competitive superiority and hard data - would eventually resemble a typically American career, whereas Sontag’s philosophical attitude remained firmly rooted in European thought until her death in 2004. The careers of these two famous women therefore call for a reconsideration of what we tend to regard as the primary importance of the immediate historico-cultural context of a person’s life.

Sign in / Sign up

Export Citation Format

Share Document