Her books with photographs of the tribes were published in 1974 and 1976 as The Last of the Nuba and The People of Kau and were both international bestsellers.[18][35] While heralded by many as outstanding colour photographs, they were harshly criticized by Susan Sontag, who claimed in a review that they were further evidence of Riefenstahl's "fascist aesthetics".[36] The Art Director's Club of Germany awarded Leni a gold medal for the best photographic achievement of 1975.[34] She also sold the pictures to German magazines.[29] She photographed the 1972 Olympic Games in Munich and rock star Mick Jagger and his wife Bianca for the Sunday Times.[10] Years later she photographed Las Vegas entertainers Siegfried and Roy. She befriended Andy Warhol and was a Guest of Honour at the 1976 Olympic Games in Montreal.[12] In her later years, Riefenstahl became known for her longevity and physical stamina, although she often suffered considerable pain from old injuries. At age 72, Riefenstahl began pursuing underwater photography after lying about her age to gain certification for scuba diving (she cut 20 years off her age). In 1978, she published a book of her below-water photographs, Korallengärten (Coral Gardens) followed by the 1990 book; Wunder unter Wasser (Wonder under Water).[12] On August 22, 2002, her 100th birthday, Riefenstahl released a film called Impressionen unter Wasser (Underwater Impressions), an idealized documentary of life in the oceans and her first film in over 25 years.[18] At age 100, she was still photographing marine life and gained the distinction of being the world's oldest scuba diver.[31] Riefenstahl was a member of Greenpeace for 8 years.[37] She survived a helicopter crash in Sudan in 2000 while trying to learn the fates of her Nuba friends during the Sudanese civil war and was airlifted to a Munich hospital.[13]
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Product Description 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. Product Details
Amazon Sales Rank: #1199756 in Books
Published on: 2007-01-23
Released on: 2007-01-23
Original language: German
Number of items: 1
Dimensions: .1 pounds
Binding: Hardcover
368 pages Editorial Reviews From Publishers Weekly
Nothing tests Keats's adage that beauty is truth more severely than the work of the Third Reich's leading filmmaker, whose notorious documentaries Triumph of the Will and Olympia cloaked the hideousness of Nazi Germany in grand, gorgeous, emotionally overpowering imagery. In this soberly critical biography, film historian Trimborn analyzes the brilliant techniques with which Riefenstahl "replace[d] politics with aesthetics" and made Hitler "an almost erotic object" to the adoring German masses. (Her mystically monumental style, he notes, lived on to influence Hollywood blockbusters like Star Wars and The Lion King, as well as Mick Jagger's stage shows.) He also dissects the lesser falsehoods Riefenstahl propagated to downplay her close relationship with Hitler and complicity with the Nazis. He reprints examples of her fawning praise of the fuehrer and reconstructs her erasure of a Jewish collaborator from the credits of one of her films, her use of Gypsies interned in a forced labor camp as extras (many of whom were later sent to Auschwitz) and her witnessing of a massacre of Jews in Poland, which she protested but which didn't dilute her enthusiasm for Hitler. Trimborn's brisk, lucid account gives the director her artistic due while sternly correcting her evasive mythology, and makes for an illuminating look at a fascinating, troubling figure. Photos. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Booklist
*Starred Review* Leni Riefenstahl was an artist of tremendous powers, but her most entrancing creation was herself. Film professor Trimborn spent years researching the beautiful, ferociously ambitious German filmmaker's long and complicated life, uncovering documents and gathering testimony that refute Riefenstahl's sanitized version of her experiences as a Nazi insider. Judiciously cognizant of contradictions and ambiguity, Trimborn insightfully parses Riefenstahl's passions for sports, dance, and film and her gift for finding men to back her creative endeavors. A 1932 fan letter gained Riefenstahl entry into Hitler's inner circle. Trimborn masterfully analyzes her masterpieces, Triumph des Willens (Triumph of the Will), and Olympia, placing her "fascination with the beautiful and strong" in opposition to the ugly facts about her Nazi collaborations. But no matter how many "denazification" hearings she underwent, she was always officially exonerated, free to reinvent herself as a photographer in the Sudan and underwater, after taking up scuba diving in her 70s. Embraced by Mick Jagger, David Bowie, and Madonna, Riefenstahl ultimately premiered her final film on her 100th birthday. Trimborn's scrupulous analyses of Riefenstahl's aesthetic triumphs, artistic opportunism, sustained vitality, and monstrous moral failings are utterly compelling. Donna Seaman
Copyright © American Library Association. All rights reserved Review
"Attacked by Susan Sontag but extolled by Andy Warhol, the world's most controversial filmmaker continues to be the subject of critical analysis." --David Luhrssen, Shepherd Express
http://astore.amazon.com/sociaentrefor-20/detail/0374184933
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. Product Details
Amazon Sales Rank: #1199756 in Books
Published on: 2007-01-23
Released on: 2007-01-23
Original language: German
Number of items: 1
Dimensions: .1 pounds
Binding: Hardcover
368 pages Editorial Reviews From Publishers Weekly
Nothing tests Keats's adage that beauty is truth more severely than the work of the Third Reich's leading filmmaker, whose notorious documentaries Triumph of the Will and Olympia cloaked the hideousness of Nazi Germany in grand, gorgeous, emotionally overpowering imagery. In this soberly critical biography, film historian Trimborn analyzes the brilliant techniques with which Riefenstahl "replace[d] politics with aesthetics" and made Hitler "an almost erotic object" to the adoring German masses. (Her mystically monumental style, he notes, lived on to influence Hollywood blockbusters like Star Wars and The Lion King, as well as Mick Jagger's stage shows.) He also dissects the lesser falsehoods Riefenstahl propagated to downplay her close relationship with Hitler and complicity with the Nazis. He reprints examples of her fawning praise of the fuehrer and reconstructs her erasure of a Jewish collaborator from the credits of one of her films, her use of Gypsies interned in a forced labor camp as extras (many of whom were later sent to Auschwitz) and her witnessing of a massacre of Jews in Poland, which she protested but which didn't dilute her enthusiasm for Hitler. Trimborn's brisk, lucid account gives the director her artistic due while sternly correcting her evasive mythology, and makes for an illuminating look at a fascinating, troubling figure. Photos. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Booklist
*Starred Review* Leni Riefenstahl was an artist of tremendous powers, but her most entrancing creation was herself. Film professor Trimborn spent years researching the beautiful, ferociously ambitious German filmmaker's long and complicated life, uncovering documents and gathering testimony that refute Riefenstahl's sanitized version of her experiences as a Nazi insider. Judiciously cognizant of contradictions and ambiguity, Trimborn insightfully parses Riefenstahl's passions for sports, dance, and film and her gift for finding men to back her creative endeavors. A 1932 fan letter gained Riefenstahl entry into Hitler's inner circle. Trimborn masterfully analyzes her masterpieces, Triumph des Willens (Triumph of the Will), and Olympia, placing her "fascination with the beautiful and strong" in opposition to the ugly facts about her Nazi collaborations. But no matter how many "denazification" hearings she underwent, she was always officially exonerated, free to reinvent herself as a photographer in the Sudan and underwater, after taking up scuba diving in her 70s. Embraced by Mick Jagger, David Bowie, and Madonna, Riefenstahl ultimately premiered her final film on her 100th birthday. Trimborn's scrupulous analyses of Riefenstahl's aesthetic triumphs, artistic opportunism, sustained vitality, and monstrous moral failings are utterly compelling. Donna Seaman
Copyright © American Library Association. All rights reserved Review
"Attacked by Susan Sontag but extolled by Andy Warhol, the world's most controversial filmmaker continues to be the subject of critical analysis." --David Luhrssen, Shepherd Express
http://astore.amazon.com/sociaentrefor-20/detail/0374184933
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