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Leni Riefenstahl : The Power of the Image Catherine M. Soussloff and Bill Nichols We are in the presence of a legend with many faces : loathed by many , admired deeply by others , her name is still taboo in Germany . Leni Riefenstahl ...
Leni Riefenstahl : The Power of the Image Catherine M. Soussloff and Bill Nichols We are in the presence of a legend with many faces : loathed by many , admired deeply by others , her name is still taboo in Germany . Leni Riefenstahl ...
Síða 32
Works like Victory of the Faith ( 1933 ) , Triumph of the Will ( 1935 ) , and Day of Freedom ( 1935 ) —all by Leni Riefenstahl - prefigure what has yet to come ( Nazi triumph ) as they present what is currently taking place ( the ...
Works like Victory of the Faith ( 1933 ) , Triumph of the Will ( 1935 ) , and Day of Freedom ( 1935 ) —all by Leni Riefenstahl - prefigure what has yet to come ( Nazi triumph ) as they present what is currently taking place ( the ...
Síða 39
Notes 1 We are grateful to Kino International Corporation , the distributor of The Wonderful Horrible Life of Leni Riefenstahl ( 1993 ) for allowing us to preview the film before its U.S.A. release and for providing us with the ...
Notes 1 We are grateful to Kino International Corporation , the distributor of The Wonderful Horrible Life of Leni Riefenstahl ( 1993 ) for allowing us to preview the film before its U.S.A. release and for providing us with the ...
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Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational connection constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York