By Neil Christian Pages, Ingeborg Majer O'Sickey, Mary Rhiel

ISBN-10: 1441104534

ISBN-13: 9781441104533

Leni Riefenstahl is bigger than existence. From the entice of her character because it enters our houses through tv to our excitement within the acceptance of movie photographs at rock concert events, to her position as a part of the background of the Nazi interval, Riefenstahl lives on in our mind's eye and in our cultural productions. hence, the editors' creation to this quantity examines the style within which Riefenstahl 'haunts' debates on aesthetics and politics, and the way her legacy reverberates within the modern cultural scene. € The essays that stick to discover our hugely invested discursive struggles over the which means o. learn more... content material: creation: Screening Riefenstahl -- Riefenstahl screened -- pt. 1: Aesthetics. Blood and glamour / Georg Seesslen ; Riefenstahl and the face of fascism / Carsten Strathausen ; 0-1 : Riefenstahl and the wonderful thing about football / Lutz Koepnick -- pt. 2: Afterlife. The afterlife of Triumph of the need : the 1st twenty-five years / David Bathrick ; fabulous, terrible lies : Riefenstahl reminiscence and Riefenstahl historical past in Germany / Wulf Kansteiner ; studying Rammstein, remembering Riefenstahl : "fascist aesthetics" and German pop culture / Valerie Weinstein -- pt. three: Continuities. A founding fable and a grasp textual content : The blue mild (1932) / Eric Rentschler ; To be or to not be Wagnerian : track in Riefenstahl's Nazi-era motion pictures / Celia Applegate ; The ups and downs of Leni Riefenstahl : rereading the rhythms of the memoirs / Mary Rhiel -- pt. four: "Riefen-Star". keep watch over and intake : the images of Leni Riefenstahl / Guinevere Narraway ; Representing the physique in our on-line world : Riefenstahl's self-staging (notes on Leni Riefenstahl's website / Martina Thiele ; within the rearview reflect : curating Riefenstahl, Filmmuseum Potsdam, 1999 / Ingeborg Majer-O'Sickey. summary: deals a chance to reconsider where of Leni Riefenstahl and her paintings in modern tradition and in educational discourse. This quantity explores our hugely invested discursive struggles over the that means of her character and movies in a specific ancient second: post-unification, post-twentieth century, post-Riefenstahl. learn more...

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The films are parts of a series and are linked, insofar as they develop neither their own narration nor their own aesthetic. ) Rather, her films are pre-staged performances of the kind disseminated by other media of the time as well. They connected a pretext (“beauty”) and a subtext (“eroticism”) and thereby elevated—to excess, as it were—a staged social production to the status of a myth. Just as pop represents pure surface but always depends on the material reality of that which is represented, Leni Riefenstahl is an “artist” who pretends to search for an abstract and morally neutral “beauty,” but who can only extract it from the given, just as myth always requires its own “remnant of reality” (Barthes).

18 This crucial shift in Nazi cultural theory from a production-oriented toward a reception-oriented approach that aims to “capture” the audience also explains the lack of a discernable style in Nazi cinema, as film experts such as Eric Rentschler, Linda Schulte-Sasse, and Sabine Hake have shown. For once you focus on the creation of a certain atmosphere or mood as the goal of artistic production, all aesthetic styles and materials become available to serve this goal. ”19 In other words, the classical normative distinction between state propaganda and popular art disintegrates.

24 For Hegel, the ultimate goal of art was the dissolution of sensuous substance into philosophical ideas, of matter into thought. I would make the exact opposite claim, namely that art resists this conversion, and that it is the responsibility of aesthetic discourse to look after this resistance. In my view, sensing difference or making difference sensible is precisely not the same as to explain it or define it or understand it. Art, and the ethics of art and aisthesis, lingers within this difference.

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Riefenstahl screened : an anthology of new criticism by Neil Christian Pages, Ingeborg Majer O'Sickey, Mary Rhiel


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