Leni Riefenstahl will always be remembered for her brilliant film of the 1936 Olympic Games in Berlin - still rated as one of the best documentaries ever made. Before that she was acclaimed for her roles in silent feature films, when German cinema was in its artistic heyday in the 1920s. She pioneered the box office success of such classic mountaineering dramas as The White Hell of Piz Palu and then began to direct her own films. The Blue Light was admired by Hitler and led to her filming the Wagnerian Nuremberg Rally of 1934. After the war she was shunned by the film industry, despite a court in 1952 proclaiming her not guilty of supporting the Nazis in a punishable way. Her undoubted charisma led to many affairs and grandiose schemes - deep sea diving in her seventies and still filming wildlife in her nineties. Audrey Salkeld has sifted the fact from the legend and gives us a moving portrait of the great movie `star' who suffered more in the `wilderness' than her enduring fame suggests.

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.

Biografi om den tyske filminstruktør (f. 1902) der lavede nazitidens propagandafilm (bl.a. Berlinolympiaden 1936), men også dokumentarfilm som den om Nubafolkets kultur i Sudan

An exceptional work of historical investigation, "Leni" is the definitive biography of one of the most fascinating and controversial personalities of the 20th century: Leni Riefenstahl, the woman best known as RHitler's filmmaker.

Leni Riefenstahl is best known as director of Triumph of the Will, a film of a Nazi Party Rally, and Olympia, the classic account of the 1936 Berlin Olympics. In this memoir, the author finally discusses her motivations, her history, her important friendships, and, most of all, her art. 40 pages of black-and-white photos.

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).

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.

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.

Biography of filmmaker Leni Riefenstahl.

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).