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Dietrich & Riefenstahl: Hollywood, Berlin,…
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Dietrich & Riefenstahl: Hollywood, Berlin, and a Century in Two Lives (vuoden 2016 painos)

– tekijä: Karin Wieland (Tekijä), Shelley Frisch (Kääntäjä)

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
683311,961 (3.9)9
Born at the dawn of the twentieth century, Leni Riefenstahl and Marlene Dietrich both came of age in Weimar Berlin, a time of great political ferment. Glamour and decadence thrived beside abject poverty, and the German capital's outpouring of literature, fashion, and film marked it as the most vital European metropolis. As young women of this era, Dietrich and Riefenstahl lived so close to each other that Riefenstahl could see into Dietrich's apartment from the roof of her building. Both women seized upon the revolutionary energy of the 1920s, seeking careers on the stage and in film.In 1929, filmmakers were casting what would become the iconic role of Lola-Lola (who made "Falling in Love Again" a sensation) in the groundbreaking sound film The Blue Angel. Riefenstahl--whose work in her "mountain films" had already made her a national emblem for the athletic rigor and spirited independence of the New Woman--hoped for the part but didn't get it. Only a few years later she became the official filmmaker of the Third Reich. Dietrich, however, won the role and the adoration of millions when she moved to Hollywood and redefined the "vixen" for a new era.While Dietrich's slender and androgynous beauty made her a fashion icon whose influence can be seen to this day, Riefenstahl's own iconography is no less indelible. With her work on two of the most notorious--if artistically sophisticated--propaganda films of all time--Triumph of the Will and Olympia--Riefenstahl was a progenitor of fascist symbolism. After the war she proclaimed her ignorance of Hitler's motives, but she could never completely distance herself from her Nazi collaboration. Dietrich vehemently condemned Hitler during World War II and found a renewed sense of purpose touring with the USO, but as a result she could never comfortably return to her native Germany.Both women were "prodigies of will, discipline, endurance, self-reinvention, and exaltation of the body in all its muscular, androgynous, pose-striking pagan glory" (James Wolcott), and both had their grand passions, but neither abandoned ambition for the sake of love. As award-winning biographer Karin Wieland shows, in their later years, both women grappled with controlling their image--Riefenstahl by pursuing an additional career in photography, and Dietrich by eventually hiding at home as her famous beauty was ravaged by time.Skillfully juxtaposing these two fascinating lives, Wieland brings to vivid life a time of international upheaval, chronicling radical evolutions of politics, fame, and femininity on a grand stage. Examining the moral responsibility of the artist, Wieland poses questions as deeply relevant to our century as to the last. A magisterial portrait of two diverging but lasting images of the modern woman, Dietrich & Riefenstahl is "a superb" (Die Zeit) panorama of the twentieth century.… (lisätietoja)
Jäsen:ZelmerWilson
Teoksen nimi:Dietrich & Riefenstahl: Hollywood, Berlin, and a Century in Two Lives
Kirjailijat:Karin Wieland (Tekijä)
Muut tekijät:Shelley Frisch (Kääntäjä)
Info:Liveright (2016), Edition: 1, 624 pages
Kokoelmat:Oma kirjasto
Arvio (tähdet):*****
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Dietrich & Riefenstahl: Hollywood, Berlin, and a Century in Two Lives (tekijä: Karin Wieland)

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näyttää 3/3
My interest in Lena Riefenstahl drew me to read this. What I knew of was limited to having been impressed by the few excerpts I had seen of her Third Reich movies. So I was completely satisfied for this fleshing out of her person, adding egomania and narcissism to balance her artistic vision.

The translation from German is occasionally clumsy and while reading it in the original would be beyond me, one gets the sense that some of the literal translations might have found a more English language metaphor. ( )
  PhilipJHunt | Apr 9, 2021 |
(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted illegally.)

To be fair, the new dual biography Dietrich & Riefenstahl is both really well done and a great concept for a book; two German women of around the same age, both in the entertainment industry, and who even lived on the same street at one point in the Weimer Era, the fact that their lives took such wildly different directions after the rise of fascism (Marlene Dietrich turned her back on Nazism and moved to Hollywood, where she became a huge success among Allied audiences, while Leni Riefenstahl embraced Nazism, turned to avant-garde cinematography, and became just as huge a success among Axis audiences) says loads about Europe during the war, the historic split between left and right politics at the time, and the heartbreaking decisions that all Germans were forced to make in those years. No, the problem is that, at 600 densely packed and dryly written pages (which would easily be 900 pages under a normal layout), this was simply way more information than I was interested in, making the book a slog that I sort of gave up on about halfway through. A great title for those with a special interest in the subject, it's unfortunately a little too daunting for those like me with only a passing interest, and it should be kept in mind before picking it up.

Out of 10: 7.0, or 9.0 for those with a special interest in this subject ( )
  jasonpettus | Apr 12, 2016 |
Brief review can be found on my blog.

Happy reading! ( )
  Jan.Coco.Day | Apr 7, 2016 |
näyttää 3/3
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Englanninkielinen Wikipedia

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Born at the dawn of the twentieth century, Leni Riefenstahl and Marlene Dietrich both came of age in Weimar Berlin, a time of great political ferment. Glamour and decadence thrived beside abject poverty, and the German capital's outpouring of literature, fashion, and film marked it as the most vital European metropolis. As young women of this era, Dietrich and Riefenstahl lived so close to each other that Riefenstahl could see into Dietrich's apartment from the roof of her building. Both women seized upon the revolutionary energy of the 1920s, seeking careers on the stage and in film.In 1929, filmmakers were casting what would become the iconic role of Lola-Lola (who made "Falling in Love Again" a sensation) in the groundbreaking sound film The Blue Angel. Riefenstahl--whose work in her "mountain films" had already made her a national emblem for the athletic rigor and spirited independence of the New Woman--hoped for the part but didn't get it. Only a few years later she became the official filmmaker of the Third Reich. Dietrich, however, won the role and the adoration of millions when she moved to Hollywood and redefined the "vixen" for a new era.While Dietrich's slender and androgynous beauty made her a fashion icon whose influence can be seen to this day, Riefenstahl's own iconography is no less indelible. With her work on two of the most notorious--if artistically sophisticated--propaganda films of all time--Triumph of the Will and Olympia--Riefenstahl was a progenitor of fascist symbolism. After the war she proclaimed her ignorance of Hitler's motives, but she could never completely distance herself from her Nazi collaboration. Dietrich vehemently condemned Hitler during World War II and found a renewed sense of purpose touring with the USO, but as a result she could never comfortably return to her native Germany.Both women were "prodigies of will, discipline, endurance, self-reinvention, and exaltation of the body in all its muscular, androgynous, pose-striking pagan glory" (James Wolcott), and both had their grand passions, but neither abandoned ambition for the sake of love. As award-winning biographer Karin Wieland shows, in their later years, both women grappled with controlling their image--Riefenstahl by pursuing an additional career in photography, and Dietrich by eventually hiding at home as her famous beauty was ravaged by time.Skillfully juxtaposing these two fascinating lives, Wieland brings to vivid life a time of international upheaval, chronicling radical evolutions of politics, fame, and femininity on a grand stage. Examining the moral responsibility of the artist, Wieland poses questions as deeply relevant to our century as to the last. A magisterial portrait of two diverging but lasting images of the modern woman, Dietrich & Riefenstahl is "a superb" (Die Zeit) panorama of the twentieth century.

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