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Introdução Nas Últimas Três Décadas, O Cinema (A Produção Audiovisual
DOI: hr.v23i1.51438 DOSSIÊ UMA OUTRA HISTÓRIA: A “ESQUECIDA” NAÇÃO DO CINEMA DAS MULHERES (AN)OTHER HISTORY: THE “FORGOTTEN” NATION OF WOMEN’S CINEMA Sandra de Souza Machado [email protected] RESUMO: A produção audiovisual mundial é historicamente marcada pelo silenciamento em relação às mulheres e, em casos extraordinários como o da primeira produtora e diretora da História do Cinema, Alice Guy‐Blaché, pela omissão, proposital ou não, de historiadores e da crítica especializada. Somente ao longo das últimas duas ou três décadas, tem havido o esforço, especialmente por parte das críticas e teóricas feministas do cinema, no sentido de resgatar a história das produções audiovisuais das mulheres e os novos sentidos e pontos de vista que elas têm estabelecido nas produções, tanto para as grandes bilheterias como nos cinemas independentes e/ou autorais. Este artigo analisa as cineastas que formam pedras fundamentais das teorias e da história dos cinemas, com novos dados e estatísticas divulgados por institutos relacionados às mulheres no âmbito audiovisual. PALAVRAS CHAVE: História, Mulheres, Cinema. ABSTRACT: Worldwide audiovisual production has been historically marked by silencing women, even in extraordinary cases such as the first producer and director in film history: Alice Guy‐Blaché. Deliberate or not, historians and specialized critics omitted her name from film industry’s landmarks. Only over the last two or three decades, there has been an effort, especially by feminist film critics and theoreticians, to rescue the history of women's audiovisual productions and the new meanings and points of view they have established in film, both for the box office and the independent or authorial production. -
September 12, 2017 (XXXV:3) Leni Riefenstahl TRIUMPH of the WILL/TRIUMPH DES WILLENS (1934), 110 Min
September 12, 2017 (XXXV:3) Leni Riefenstahl TRIUMPH OF THE WILL/TRIUMPH DES WILLENS (1934), 110 min. (The online version of this handout has color images.) Directed by Leni Riefenstahl Written by Leni Riefenstahl, Walter Ruttmann, Eberhard Taubert Produced & Film Editing by Leni Riefenstahl Music by Herbert Windt Camera: Sepp Allgeier, Karl Attenberger, Werner Bohne, Walter Frentz, Hans Karl Gottschalk, Werner Hundhausen, Herbert Kebelmann, Albert Kling, Franz Koch, Herbert Kutschbach, Paul Lieberenz, Richard Nickel, Walter Riml, Arthur von Schwertführer, Karl Vash (Vaß), Franz Weihmayr, Siegfried Weinmann, Karl Wellert Assistant Camera: Sepp Ketterer, Wolfgang Hart, Peter Haller, Kurt Schulz, Eugen Oskar Bernhard, Richard Kandler, Hans Bühring, Richard Böhm, Erich Stoll, Josef Koch, Otto Jäger, August Beis, Hans Wittman, Wolfgang Müller, Hans (Heinz) his death in a car accident in 1943), Ludwig Müller (theologian Linke, Erich Küchler, Ernst Kunstmann, Erich Grohmann, and leading member of the "German Christians" faith movement, Wilhelm Schmidt Erich Raeder (played a major role in the naval history of World War II), Fritz Reinhardt (Secretary of State), Alfred Special Camera/Effects: Albert Kling (ærial photography), Rosenberg, Hjalmar Schacht (Minister of Economics), Franz Svend Noldan (special effects), Fritz Brunsch (special Xavier Schwarz, Julius Streicher, Fritz Todt (engineer whose effects), Hans Noack (special effects) firm handled construction of fortifications such as the Westwall and Atlantikwall, and the autobahn superhighways.) Sets: Albert Speer Leni Riefenstahl (b. August 22, 1902 in Berlin, Germany—d. Cast September 8, 2003, age 101, in Pöcking, Bavaria, Germany) Adolf Hitler, Max Amann (SS official, politician and wanted to know what it felt like to dance on the stage. -
TRIUMPH of the WILL/TRIUMPH DES WILLENS 1934 (110 Minutes)
January 30, 2007: XIV:3 TRIUMPH OF THE WILL/TRIUMPH DES WILLENS 1934 (110 minutes) Cast: Adolf Hitler, Max Amann, Martin Bormann, Walter Buch, Richard Walther Darré, Otto Dietrich, Sepp Dietrich, Hans Frank, Joseph Goebbels, Hermann Göring, Jakob Grimminger, Rudolf Hess, Reinhard Heydrich, Konstantin Hierl, Heinrich Himmler, Robert Ley, Viktor Lutze, Erich Raeder, Fritz Reinhardt, Alfred Rosenberg, Hjalmar Schacht, Franz Schwarz, Julius Streicher, Fritz Todt, Werner von Blomberg, Hans Georg von Friedeburg, Gerd von Rundstedt, Baldur von Schirach, Adolf Wagner, and The Soldiers of the SA, SS & Wehrmacht, The Hitlerjugend, plus other participants of the Party Rally and the citizens of Nüremberg Directed, produced, written and edited by Leni Riefenstahl Camera Sepp Allgeier, Karl Attenberger, Werner Bohne, Walter Frentz, Hans Karl Gottschalk, Werner Hundhausen, Herbert Kebelmann, Albert Kling, Franz Koch, Herbert Kutschbach, Paul Lieberenz, Richard Nickel, Walter Riml, Arthur von Schwertführer, Karl Vash (Vaß), Franz Weihmayr, Siegfried Weinmann, Karl Wellert Assistant Camera Sepp Ketterer, Wolfgang Hart, Peter Haller, Kurt Schulz, Eugen Oskar Bernhard, Richard Kandler, Hans Bühring, Richard Böhm, Erich Stoll, Josef Koch, Otto Jäger, August Beis, Hans Wittman, Wolfgang Müller, Hans (Heinz) Linke, Erich Küchler, Ernst Kunstmann, Erich Grohmann, Wilhelm Schmidt Special Camera/Effects Albert Kling (ærial photography) Svend Noldan (special effects) Fritz Brunsch (special effects) Hans Noack (special effects) Sets Albert Speer Bertha Helene (Leni) Amalie Riefenstahl was born sports experts rather than actors. Riefenstahl proved as August 22, 1902, in Berlin. She studied painting and good an athlete as a dancer and starred also in Fanck’s dance, was hired as a dancer by Max Reinhardt and Der Grosse Sprung (The Great Leap, 1927); Die by 24 had given solo dance concerts in many Weisse Hölle vom Piz Palü (The White Hell of Pitz European cities. -
Excerpt Poddi, Quest'ora Sommersa
Excerpt from THIS HOUR UNDERWATER by Emiliano Poddi Quest’ora sommersa, published by Feltrinelli 2021 Inquiries regarding rights may be addressed to Chiara Piovan, [email protected] English translation © 2020 by Anne Milano Appel Emiliano Poddi THIS HOUR UNDERWATER 2 Of all the artists, Leni Riefenstahl is the only one who understands us. JOSEPH GOEBBELS We are so alike, you and I: both slaves to our mission. ADOLF HITLER Where is my sin? LENI RIEFENSTAHL 3 Although inspired by real facts and people, the story told in this novel is the product of the author’s imagination. 4 You are breathing underwater and you don’t even notice it, as if it were your true nature. At a depth of nearly 50 feet, you swim calmly, almost easily, and I let you do so. It’s going well, Leni, everything’s fine. I can see your breath, I can see mine. It doesn’t happen anywhere else, we’re in the only place on earth where you can see a sight like that. We breathe in, we breathe out, and swarms of bubbles gurgle away from the regulator, those introflexed, disc-shaped underwater bubbles of ours that look a bit like jellyfish without tentacles – and you think that the only thing you let slip out of your mouth with me are these harmless jellyfish, right, Leni? And to think that you have reasons to be on your guard, survival down here doesn’t just depend on you. You have a limited reserve of air, you’re connected to a breathing device, crushed by a pressure that is one and a half atmospheres greater than normal, at the mercy of fish that are bigger than you and much swifter, subject to the currents and ultimately me as well, Leni – down here you are in my hands. -
Leni Riefenstahl Simply Will Not Go Away:" an Analysis of the Media Discourses About Hitler's Filmmaker
l\:fA MAJOR RESEARCH PAPER "Leni Riefenstahl Simply Will Not Go Away:" An Analysis of the Media Discourses about Hitler's Filmmaker Kirsteen Henderson Professor Bruce Elder A Major Research Paper submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture York University-Ryerson University Toronto, Ontario, Canada Thursday, January 9, 2003 Joint Graduate Program in Communication And Culture A Partnership of Ryerson University York University "Leni Riefenstahl Simply Will Not Go Away:" An Analysis of the Media Discourses about Hitler's Filmmaker Leni Riefenstahl will forever be connected to the political ideology of fascism and the images of Adolf Hitler and male strength and beauty she brought to the screen in Triumph of the Will (1935) and Olympia (1938), the contested masterpieces of her filmmaking career under the Third Reich. Now 100 years old and releasing her first film in almost half a century, she has remained a ubiquitous media presence for most of her life. In the 1970s, an article in Newsweek began: "Leni Riefenstahl simply will not go away" and her media presence has only increased since that time ("Leni's triumph ofthe will" 11129176). More recently, in the past decade, Vanity Fair featured an interview with Riefenstahl and published Helmut Newton's photographs of her; lengthy reviews of her memoirs appeared in the New York Times, the Globe and Mail, and the Times of London; Ray Muller's documentary, The Wonderful, Horrible Life ofLeni Riefenstahl appeared at film festivals in New York and Washington, D.C.; and Jodie Foster's decision to make a film based on Riefenstahl's life was announced on CNN.