**part 1: books, academic studies, exhibition catalogues, brochures: see below
**part 2: articles about and by Riefenstahl from newspapers and magazines in German, English and French :click here
**fUne bibliographie en français: click here
Richard Barsam, Filmguide to Triumph of the Will (Bloomington, 1975)
Marilyn Fabe, Triumph of the Will, the arrival of Hitler (Old Greenwich,1975)
Glenn Infield, Leni Riefenstahl the fallen Film Goddess- The intimate and shocking story of Adolf Hitler and Leni Riefenstahl (New York, 1976)
French translation: Leni Riefenstahl et le Troisième Reich (Paris, 1978)
Charles Ford, Leni Riefenstahl (Paris,1978) in French
German translation: Leni Riefenstahl, Schauspielerin, Regisseurin und Fotografin (München, 1982)
David Hinton, The films of Leni Riefenstahl (Meteuchen, 1978)
Renata Berg-Pan, Leni Riefenstahl (Boston,1980)
Martin Loiperdinger, Triumph des Willens - Einstellungsprotokoll (Frankfurt,1980)
Peter Nowotny, Leni Riefenstahls Triumph des Willens (Dortmund,1981) in German
Leonardo Quaresima, Leni Riefenstahl (Firenze,1985) in Italian (Il castoro cinema nr 113)
Cooper Graham, Leni Riefenstahl and Olympia (Metuchen,1986) -based in part on the author's Ph.D thesis-
also published in 2001 by The Scarecrow Press
Martin Loiperdinger, Rituale zur Mobilmachung (Opladen,1987) in German
David Smith, Triumph of the Will (Richardson,1990)
Thomas Leeflang, Leni Riefenstahl (Baarn,1991) in Dutch
David Hinton, The films of Leni Riefenstahl (Meteuchen, 1991) 2nd, slightly revised edition of the above
Taylor Downing, Olympia (London, 1992)
Sandrine Vernet & Klaus Gerke Leni Riefenstahl, Le pouvoir des images (Paris, 1995) in French
Audrey Salkeld, A portrait of Leni Riefenstahl (London,1996)
also published by Pimlico in 1997
Thomas Leeflang, De gevallen Engel, leven en werk van Leni Riefenstahl (Zutphen, 2000 ) in Dutch revised version of the above
Diane Chauvelot, Leni Riefenstahl, entre le beau et le bien (Paris, 2000) in French
David Hinton, The films of Leni Riefenstahl (Lanham/London, 2000) revised edition of the above
Angelika Taschen, Leni Riefenstahl, Fünf Leben (Köln, 2000) in short introduction texts English, Germand an French, otherwise inGerman
Rainer Rother, Leni Riefenstahl, die Verführung des Talents (Berlin, 2000) in German
also in pocket book edition (Wilhelm Heyne Verlag, München 2002)
English translation: Leni Riefenstahl, The seduction of a Genius (London, 2002)
Lutz Kinkel, Die Scheinwerferin, Leni Riefenstahl und das Dritte Reich (Hamburg, 2002) in German
Jürgen Trimborn, Riefenstahl, eine deutsche Karriere (Berlin, 2002) in German
English translation: Leni Riefenstah, A life (New York, 2007)
Angelika Degen, Leni Riefenstahl (Grosspösna, 2002) in German
Hannah Schaub, Leni Riefenstahls Olympia (München, 2003) in German
Yuji Segawa, -in Japanese, English translation of the title: The charm of beauty: the truth about Leni Riefenstahl (Tokyo, 2003)
Thomas Leeflang, Gevallen voor de Führer (Soesterberg, 2003) in Dutch- revised version of his 1991 & 2000 monography
Thomas Leeflang, Leni Riefenstahl - de macht van het beeld, de onmacht van het woord (Soesterberg, 2006) in Dutch- revised version of his book published in 1991, 2000 and 2003
Jérôme Bimbenet , Quand la cinéaste d'Hitler fascinait la France- Leni Riefenstahl (Panazol, 2006) in French -based in part on the author's Ph.D thesis-
Steven Bach, The life and work of Leni Riefenstahl ( New York, 2007) this book has been translated in numerous languages (Polish, JapaneseGerman, French, Dutch, ...) and is probably the most sold work about Riefenstahl ever.
The book also exist on CD: read by Henrietta Thiefentahaler (Phoenix Audio-Beverly Hills, 2007)
USA edition, Alfred A. Knopf UK edition, LIB
*also in pocket book edition by 5abacus, 2007
Kristina Oberwinter, Bewegende Bilder-Repräsention und Produktion von Emotionen in Leni Riefenstahls Triumph des Willens (Berlin, 2007) in German
Niel Christian Pages, Mary Rhiel, Ingeborrg Majer-O'Sickey (ed), Riefenstahl Screened ( New York, 2008)
With contributions by Georg Seesslen, Carsten Strathausen, Lutz Koepnick, David Bathrick, Wulf Kansteiner, Valerie Weinstein, Eric Rentschler, Celia Applegate, Marie Rhiel, Guinevere Narraway, lMartina Thiele and Ingeborg Majer-O'sickey.
Ken Webb, Leni Riefenstahl (1902-2003) (Sydney,2008)
This Australian book is more a course book in history: it contains 'revision exercises, questions, specific topics to write about (high school level)
Mario Leis, Leni Riefenstahl ( Reinbek, 2009) in German
Jörn Glasenapp (ed) , Riefenstahl revisited ( München, 2009) in German
with contributions by Jörn Glasenapp, Kay Kirchmann, Ulrich Meurer, Sven Kramer, Ursula von Keitz, Kai Marcel Sicks and Carola Schormann
Michele Sakkara Glasenapp, Leni Riefenstahl Un mito del XX secolo ( Chieti, 2009) in Italian
Frederic P. Miller, Agnes F. Vandome, John McBrewster (eds.) , Leni Riefenstahl (Mauiritius,2010)
This is a compilation by alphascrict publishing , all articles are extracted from Wikipedia.
Markwart Herzog, Mario Leis (ed) , Kunst und Ästhetik im Werk Leni Riefenstahls ( München, 2011) in German
with contributions by Markwart Herzog, Mario Leis, Daniel Kohenschulte, Hanno Loewy, Clemens Zimmermann, K. Ludwig Pfeiffer, Stefan Strötgen, Maren Polte Rolf Hussmann, Gaëlle Liedts, Karl Stamm and Rolf Sachse
To be published soon:
Luc Deneulin, Bergkristallen en swastika's Leni Riefenstahl film/foto- in Dutch to be published in 2015 (ASP, Brussels)
based in part on my PhD "Leni Riefenstahl : van Arnold Fanck tot Adolf Hitler"
BOOKS BY LENI RIEFENSTAHL
Kampf in Schnee und Eis (Leipzig, 1933, with an introduction by Paul Ickes. click here for comment (soon)
Hinter den Kulissen des Reichparteitags-Films (München, 1935, (ghost writer Ernst Jäger according to Leni Riefenstahl) authorship denied by L. Riefenstahl : click here
Schönheit im Olympischen Kampf (Berlin, 1937)
Very similar edition, Schönheit im Olympischen Kamp but with a foreword by Monique Berlioux (I.O.C.) and an Introduction by Kevon Brownlow in german - Mahnert-Leug Verlag (München, 1988)
under the title Olympia (St. Martin's Press, New York 1994) an edition with the texts in English
Die Nuba, Menschen wie von einem anderen Stern (München, 1973)
Taschenbuch: dtv/List 1982 & Ullstein 1990
Die Nuba von Kau (München, 1976)
Taschenbuch: dtv/List 1982 & Ullstein 1991
(Die Nuba, Menschen wie von einem anderen Stern and Die Nuba von Kau were published in one book with the title "Die Nuba" (Frehen, 2000)
Korallengärten (München, 1978)
Taschenbuch: dtv/List 1982 & Ullstein 1991
Mein Afrika (München, 1982)
Memoiren (München, 1987) (ghost writer:Will Tremper according to Thomas Leeflang, 2006 p180)
important information about the English translation (The Sieve of Time/A Memoir:) compared to the German original about 18% of the text is lacking
Taschenbuch: 2 Teile: '1902-1945 Zeitgeschiche' / '1945-1987' Biographie (Ullstein 1992)
Wunder unter Wasser (München, 1990)
Leni Riefenstahl's books have been translated in various languages, except for Kampf in Schnee und Eis and Hinter den Kulissen des Reichparteitagfilms
Riefenstahl also contributed to a number of books with texts and or photographs
Paradiese Saphir Verlags (München, 1978) contains two contributions by Leni Riefenstahl (text and photos):
Mein Paradies-Afrika (p 103-150) and Paradies unter Wasser (p 199-241), the other authors being Bernhard Grzimek (Mein Paradies-Die Tierwelt), Reinhold Messner (Mein Paradies-Die Berge) and Herbert Tichy (Mein Paradies-Land am Himalaya)
Paradiese der Welt
WPS-Präsent-Buch (Gütersloh, 1985)
Alles über Afrika (ed Alfred Jau) (Bielefeld, 19??) contains a few Africa photographs by Leni Riefenstahl
So leben sie noch heute (ed Elke Kahlert , Gert Brink) (München, 1976) contains photographs and a text about the Nuba by Leni Riefenstahl, the book also contains photographs and or texts from Dieter Fuss, Werner Prym, Pino von Schönfels, Titus Seeholer and Ilse Collignon, Leni Riefenstahl's sister in law, who wrote a book with lots of references to Riefenstahl (Meine liebe Leni, 2003), see "Closely related to Riefenstahl and her work"
Africa (Köln, 2002) in German, French, English and Japanese
This very big and heavy (and expensive:2500$) book was published on Riefenstahl's 100th birthday. It's a limited edition of 2500 copies each numbered and signed by Leni Riefenstahl. In spite of a worldwide promotion, it is not sold out as of yet (November, 2006).
A cheaper version of the book (about 60$) in a smaller format was published in 2005 (Taschen's 25th anniversary - special edition)
Besides about 350 photographs (of which quite a few have been published before in "Die Nuba, Menschen wie von einem anderen Stern", "Die Nuba von Kau" and "Mein Afrika"), this book contains an interview with Leni Riefenstahl by Kevin Brownlow; a biography (with many pictures) as well as a filmography and a selected bibliography (books and articles)
Taschen also published in a series 'Leni Riefenstahl' items in 2000: all, except Olympia, with the same cover, a publicity photograph for Das blaue Licht (1932) - Leni Riefenstahl as Junta in the film:
+ Memoiren (in German)
+ Olympia (the introduction texts are in English, French and German)
closely related to Leni Riefenstahl and her work:
Arnold Fanck, Der Kampf mit dem Berge (Berlin, 1931) in German, dealing with A. Fanck's mountain films in which L. Riefenstahl played as an actress.
Sepp Allgeier, Die Jagd nach dem Bild (Stuttgart, 1931) in German, Sepp Allgeier was a cameraman for some movies directed by Arnold Fanck in which Leni Riefenstahl played. In this book one can find information about e.g. Der Heilige Berg (1926), Die weisse Hölle vom Piz Palü (1929) and Stürme über dem Montblanc (1931) as examples of such Fanck movies.
Arnold Fanck, Stürme über dem Montblanc (Basel, 1931) in German, about the film of the same name in which Riefenstahl played, this book contains an introduction by Bela Balazs "Vorwort" pages V-X
Ernst Sorge, Mit Flugzeug, Faltboot und Filmkamera in den Eisfjorden Grönlands (Berlin, 1933) in German about the film of the same name in which Riefenstahl played, Dr. Ernst Sorge was a member of the scientific group who helped Arnold Fanck in Greenland.
Arnold Fanck, S.O.S. Eisberg, mit Dr. Fanck und Ernst Udet in Grönland (München, 1933) in German about the film of the same name in which Riefenstahl played (titel on the dustjacket: "S.O.S. Eisberg. Mit Dr. arnold Fanck, Leni Riefenstahl und Ernst Udet in Grönland")
Siegfried Kracauer, From Caligari to Hitler (Princeton, 1947) for Kracauer there is a relationship between the mountainfilms in which Riefenstahl played a part and her Triumph des Willens, it means that the mountain films anticipates the desire for a dictator; more in detail, he links Fanck's "Stürmùe über dem Montblanc" to "Triumph des Willens".
Richard Mandell, The Nazi Olympics (New York, 1971) inrelated to Leni Riefenstahl's Olympia: a book about the 1936 Olympics games which were filmed by Riefenstahl. There is a chapter on Leni Riefenstahl and her Olympia film, called "The Olympics preserved" p 250-274
Arnold Fanck, Er führte Regie mit Gletschern, Stürmen und Lawinen (München, 1973) in German, can be considered as Fanck's memoirs; dealing with the mountain films of A. Fanck in which L. Riefenstahl played as an actress from 1926 until 1933.
was published that same year as Der weisse Rausch (München, 1973) (refering to the film with the same title he made in 1931) this was a Lizenzausgabe für die Miiglieder des Deutschen Bücherbundes Stuttgart Hamburg München
Hilmar Hoffmann, Mythos Olympia (Berlin, 1993) in German, dealing with Olympia, in the context of the Olympic other sportfilms such as "Wege zur Kraft und Schönheit" (Wilhelm Prager, 1925) and "Jugend der Welt" by Hans Weidemann and Carl Junghans & Herbert Brieger), the latter is the film about the Winter Olympic Games in Garmisch-Partenkirchen (1936) and a few other Sportfilms made during the Third Reich.
Marianne Landes, Elmar Landes (ed), Alpenvereinsjahrbuch Berg '93 (München, 1993) in German, related to the Bergfilme, contains an article about Fanck and Riefenstahl by Hans-Jürgen Panitz: "Arnold Fanck, Luis Trenker, Leni Riefenstahl, Rollen, Karrieren, Verstrickungen" p 227-242.
Christian Rapp, Höhenrausch, Der Deutsche Bergfilm (Wien, 1997) in German, dealing with the mountain-film in general, with chapters about Fanck's films in which Riefenstahl played and a chapter about Das blaue Licht
Jan-Christopher Horak (ed.) , Berge, Licht und Traum Dr. Arnold Fanck und der Deutsche Bergfilm (München, 1997) dealing with Arnold Fanck's films, Leni Riefenstahl played in six of his mountain films between 1926 and 1933.
Peggy Phillips, Two women under water (Santa Barbara, 1998) fiction: an encounter with Leni Riefenstahl
Daniel Wildmann, Begehrte Körper (Würzburg,1998) in German, dealing with Olympia
Thea Dorn, Marleni Preussische Diven Blond wie Stahl (Frankfurt a. M., 2000) in German, play with Leni Riefenstahl and Marlene Dietrich, (both born in 1902) as characters, who talk with (and shout at) each other about their so different lives. Leni Riefenstahl the Nazi whore and Marlene Dietrich a traitor to her home country? On a general note, Thea Dorn has been in the nineties a fervent defender of Leni Riefenstahl, she considers Tiefland as a film Riefenstahl made against Hitler. Marleni is also available as "Hörbuch" on CD: "Marleni, Hörspiel" , Hörbuchverlag von Eichborn (2002) Program Euro Theater Central Bonn
Stefan König, Hans-Jürgen Panitz, Michael Wachtler, 100 Jahre Bergfilm (München,2001) in German, the "Bergfilm" did not start nor end with Arnold Fanck and Leni Riefenstahl. In this book the genre is put in a broader context; it also contains one chapter on Arnold Fanck: "Dramatische Berge-Die grossen Filme des Arnold Fanck" (pp 36-43), as well as an interview with Leni Riefenstahl from 1988 about the "Bergfilm" she was involved in: "Das Bergmädchen; ein Gespräch mit Leni Riefenstahl über ihre Erfahrungen als Bergfilmdarstellerin" by Hans-Jürgen Panitz (pp 102-106)
Fauke Göttsche,, Geometrie im Film Fritz Langs "Dr. Mabuse der Spieler" und Leni Riefenstahls "Triumph des Willens" (Münster, 2003) in German, Triumph des Willens seen as a geometric image constructionl
Ilse Collignon, Meine liebe Leni (München, 2003) in German, Ilse Colignon married Riefenstahl's brother and was till he died Leni Riefenstahl's sister in law; contains anecdotal, rather negative tainted information about Riefenstahl during the Third Reich
Daniel Knopp, NS-Filmpropaganda (Marburg, 2004) in German, dealing with Triumph des Willens; in this book Triumph des Willens and Veit Harlan's Jud Süss are compared as propaganda films
Antje Baumann, Von Kopf bis Fuss auf Bilder eingestellt - Zur Darstellung von Marlene Dietrich und Leni Riefenstahl in deutschen Zeitungen von 1946 bis 2002 (Tönning, 2005) in German, (book includes a CD-ROM with reproductions of articles), the author compares the post-war portrayal of Leni Riefenstahl and Marlene Dietrich in the German press.
Felizitas von Frey, Leni im Wonderland, eine Obsessionon (Norderstedt, 2005) fiction, in German.
Matthias Frank, Weisse Hölle - Weisser Rausch Arnold Fanck Bergfilme und Bergbilder 1909-1939 (Zürich, 2009) in German, dealing with A. Fanck's mountain films in which L. Riefenstahl played as an actress. Matthias Frank is Arnold Fanck's son.
Werner Kofler, Zu Spät (Wien, 2010) fiction, in German, about Tiefland (in the second part of the book)
Lilian Auzas, Riefenstahl (Clamecy, 2012) fiction, in French
Karin Wieland, Dietrich & Riefenstahl Die Geschichte zweier Jahrhundertfrauen (München, 2014) in German, comparing Marlene Dietrich an Leni Riefenstahl
books containing chapters about Leni Riefenstahl
François Brigneau, L'aventure est finie pour eux (Paris, 1960)
"Leni Riefenstahl, la maudite" p 199-230 interview with Riefenstahl (probably the fitst postwar of this lengt)h, at that time thinking of making a ballet version of Das blaue Licht.
Charles Ford, Femmes cinéastes ou le triomphe de la volonté (Paris, 1972)
"Leni Riefenstahl ou le triomphe du documentaire" ppp 59-78 the author states that Triumph des Willens and Olympia are pure, high quality documentaries and that political misunderstandings put an end to Riefenstahl's career, which he sees as a big injustice to the most brilliant woman filmmaker ever. The title of his book refers directly to Leni Riefenstahl's Triumph des Willens.
Jean Dumont (ed.), Les survivants de l'aventure Hitlérienne (Genève, 1975)
Alfred Mazé: "Leni Riefenstahl, une grande cinéaste pour qui a tardé la justice" p 11-50 Leni Riefenstahl, from expressionism to national-socialism to Africa; Leni Riefenstahl was according to the author, a propagandist for the Third Reich and a vehement supporter of Hitler.
Hildegard Knef, Nichts als Neugier - Interviews zur Parapsychologie (München, 1978)
"Leni Riefenstahl" p 257-284 Hildegarde Kneff interviews people like Niki Lauda, Henry Miller, Françoise Sagan and others about their attitude towards parapsychology. Leni Riefenstahl gives some explanation about the esoteric elements in Nuba culture as well as the strange, incomprehensible power Hitler had on people, including herself
Michel Tournier, Des clefs et des serrures (Paris, 1979)
"Les dieux des steppes" p 128-135 the title of this essay makes French readers immediately think about Les Dieux du Stude, the French title of Olympia, which according to the author is the the first film one thinks about when hearing the name of Riefenstahl. Tournier doesn't refere to the Third Reich or other films by Leni Riefenstahl, but is in admiration for Leni Riefenstahl who at her old age is still very active. He describes Riefenstahl's work in Africa, which he admires: "Leni Riefensdtahl's work is of considerable ethnographical value and therefore is universal" Other "portaits" in this book include e.g. Lewis Caroll, Robert Doisneau, Jacques-Henri Lartigue
Gisela von Wysocki, Die Fröste der Freiheit, Aufbruchsphantasien (Frankfurt am Main, 1980)
"Die Berge und die Patriarchen" p 70-85 this book about "woman culture" contains entries about e.g. Virginia Woolf and Greta Garbo. Leni Riefenstahl is seen by the author as a woman who had the same aims as the fascists of the IIIrd Reich: wielding power over other people. Riefenstahl is described as the most powerful woman of the Third Reich while being a master in dealing with masculine myths
Susan Sontag, Under the Sign of Saturn Farrar Strauss Giroux (New York, 1980)
"Fascinating fascism" p 74-108 this is a revised version of Sontag's article Fascinating Fascism published in The New York Review of Books VOL XXII nr 1 February 6, 1975. For Susan Sontag Riefenstahl's Nuba photographs are the third in a series of works reflecting/inspired by fascist esthetics; the first such work being the mountain film, the second the films Riefenstahl made during the Third Reich. Triumph des Willens and Olympia are however seen by S. Sontag as documentaries that are very well made; other directors are linked to the concept of fascinating fascism as well, like Walt Disney.
Hermann Schreiber, Lebensläufe (Frankfurt am Main, 1982)
"Leni Riefenstahl" p 59-75 this book contains the transcripts of a series of interviews Hermann Schreiber did with German celebreties on German television. THe chapter on Leni Riefenstahl is the transcription of his interview that was broadcoasted in 1980. Other interviews in this book are eg; Joseph Beuys, Ernst Herhaus and Hans Krug
Henriette von Schirach ("nach Materialen von H. v. S."), Frauen um Hitler (München, 1983)
"Leni Riefenstahl" p 154-156 tHenriette von Schirach was the wife of Baldur von Schirach, leader of the Hitler Youth, we see him in Triumph des Willens. Henriette von Schirich is known to have protested to Hitler about the treatment of the Jews in Amsterdam. Leni Riefenstahl doesn't get much attention in this book, compared to other women like Unity Mitford, Emmi Göring and Magde Goebbels. The "portrait" however is rather a positive one. H. von Schirach remembers that L. Riefenstahl was often with Hitler, always dressed in white and was a woman who could talk so well that all men were fascinated.
Margerete Mitscherlich, Über die Mühsal der Emanzipation (Frankfurt, 1990)
"Eine Deutsche Frau: Leni Riefenstahl" p 157-165 according to this writer Leni Riefenbahl wanted to be part of a masculine world; her work is seen as focused on men with little or no attention for women. Leni Riefenstahl's autobiography is discussed as well: "Leni Riefenstahl has the talent not to remember what she doesn't want remember" writes M. Mitscherlich. As a woman in the feminist movement, Riefenstahl is considered as one who despises other women.
Ulrich Herrmann, Ulrich Nassen (ed.), Formative Ästhetik im National-Sozialismus (Basel, 1994)
Martin Loiperdinger "Sieg des Glaubens, Ein gelungenes Experiment nationalsozialistischer Filmpropaganda" p 35-48 including a description of the making of the film and the premiere. Contains also a paragraph about the transition from Sieg des Glaubens to Triumph des Willens, as well as one about Riefenstahl's film style and dramaturgy
Manfred Hattendorf (ed.) Perspektiven des Dokumentarfilms Schaudig & Ledig Gbr (München, 1995)
Klaus Kanzog "Der Dokumentarfilm als politischer Katechismus. Bemerkungen zu Leni Riefenstahls Triumph des Willens (1935)" p 57-84 The author applies the theories of documentary filming on Triumph des Willens.
Eric Rentschler, The Ministry of Illusion (Cambridge, 1996)
"A legend for modern times: The blue Light" p 27-52 in-depth description and interpretation of Das blaue Licht; it is compared to Murnau's Nosferatu and ranked as a horror film.
Anna Maria Sigmund, Die Frauen der Nazis (Wien, 1998)
"Leni Riefenstahl, die Amazonenkönigin" p 99-118 Leni Riefenhstahl's career, which according to the author could be called "Triumph des Willens" itself. The other women in this book are: Eva Braun, Magda Goebbels, Carin Göring, Emmy Göring, Geli Raubal, Gertrude Scholtz-Klink and Henriette von Schirach.
Antje Olivier, Sevgi Braun, Anpassung oder Verbot - Künstlerinnen und die 30er Jahre (Düsseldorf, 1998)
"Das Negative macht mich nicht kreativ - Leni Riefenstahl, die Regisseurin von Macht und Schönheit" p 263-294 Other artists in this book: Else Lasker-Schuler, Eta Harich-Schneider, Hannah Höh, Lotte Lenya, Vicki Baum, Clara Haskil, Charlotte Salomon, Mary Wigmann & Gret Palucca and Erika Mann.
Ruby Rich, Chick Flicks Theories and Memories of the Feminist Film Movement (Durham, 1998)
"Leni Riefenstahl: The deceptive myth" p 40-47 (preceded by a chapter on the women's festival circuit, in which Riefenstahl's role during the seventies is described on pages 35-39) Leni Riefenstahl is seen as a filmmaker belonging to a group of women who instead of building an alternative power base from which to attack patriarchal corruption, collaborates with and for the patriarchy, which defection provides it with a female front that is, if anything, more effective for its program of unilateral imperialism.
Barry Keith Grant & Jeannette Sloviowski (eds.), Documenting the documentary (Detroit, 1998)
Frank P. Tomasulo:"The Mass psychology of fascist cinema. Leni Riefenstahl's Triumph of the Will" p 99-118
Jerrold Levinson (ed.), Aesthetics and Ethics (Cambridge, 1998)
Mary Deveraux: "Beauty and the evil: the case of Leni Riefenstahl" p 227-256
Christophe Dompke, Weil doch was blieb-Alte Frauen in schlechten Filmen (Berlin, 1999)
"Tiefland" p 78-81 the author finds the story of Tiefland quite weak, as well as the actors and especially Leni Riefenstahl in the role of Martha. Has some doubts about Riefenstahl's account in her Memoirs about the so-called "gypsy question" (in Tiefland, gypsies were used as extras, being recruited from a concentration camp). Other "old women in bad films" in this book are e.g. Marlene Dietrich in Just a Gigolo and Joan Crawford in Trog.
Gitta Sereny, The German Trauma (London, 2000)
"Leni" p 234-246 about the author's interview with Riefenstahl in 1992, (which, in several days, ended in a total of eight hours of conversation) the author doesn't find Riefenstahl's post-war statements nor her Memoirs very credible.Leni Riefenstahl told the author she doesn't se Hitler as a monster but as a schizophrenic", she ads: "To think that I believed in something that was so corrupt, that produced this horror, for a long time I envied people who die". Gitta Sereny was present at the age of 11 at the Party Rally in 1934, the subject of the Leni Riefenstahl's Triumph of the Will. This book includes chapters about other personalities of the Third Reich who "have some difficulties with the truth", like Albert Speer
Bertrand Mary, Les forcenés de l'image (Paris, 2000)
"Leni Riefenstahl ou l'amazone foudroyée" p 59-80 about Olympia and Leni Riefenstahl's film project Penthesilea
Robert Reimer (ed.) Cultural history through a National Socialist lens- Essays on cinema of the Third Reich (Rochester, 2000)
Roger Russi: "Escaping Home: Leni Riefenstahl's visual poetry in Tiefland" p 155-175 Other films discussed in this book are e.g SA-Mann Brand, Hitlerjunge Quex, Der ewige Jude, Die grosse Liebe and Unter den Brücken.
Erich Schaake, Hitlers Frauen (Wien, 2000)
"Leni Riefenstahl - Triumph des schönen Scheins"" p 267-292 Leni Riefenstahl as one of the women who played a big role in Hitler's life. Other women in this book are Hitler's mother, girls he knew when he was still a young boy, Geli Raubal, Unity Mitford, Christa Schroeder and some others. The chapter about Riefenstahl is based on her Memoiren.
Guido Knopp, Hitlers Frauen und Marlene (München, 2001 )
"Leni Riefenstahl, die Regisseurin" pp 149-206 " Riefenstahl's career, from a dancer in 1923 till 2000, with many quotes about her by Hans Ertl, Albert Speer, Angelika Taschen, Fritz Hippler and many others. The other women in this book are Eva Braun, Magda Goebbels, Winifred Wagner, Zarah Leander and Marlene Dietrich. (There is alo a documentary series with he same tile)
Christian Graf von Krockow, Porträts berühmter deutscher Frauen, von Königin Louise bis zur Gegenwart (München, 2001)
"Leni Riefenstahl" p 297-344 Leni Riefenstahl seen as a historical person in German history, for once not in a context of "women during the Third Reich", other chapters in this book include biographies about eg Hedwig Courts-Mahler, Anna Segers, Alice Schwarzer and Angela Merkel. Leni Riefenstahls films are considered by this author as a miror in whch we can see what the Germans have dreamt (or still are dreaming) of.
Friedbert Aspetsberger (ed), Der Bergfilm 1920-1940 (Innsbruck, 2002)
Robert von Dassanowsky: "Der Einfluss von Fanck und Riefenstahl im zeitgenössischen amerikanischen Film" p 113-124 about the influence of Arnold Fanck and Leni Riefenstahl on contemporary American film.
Hermann Vaske, Why are you creative? (Maplewood, 2002)
"Leni Riefenstahl" p 140-141 Over 50 artists try to give an answer to the question "Why are you creative?"
Birgit Haustedt, Die wilden Jahre in Berlin (2002)
"Marlene Dietrich und Leni Riefenstahl: Sinnlichkeit, Arbeit, Karriere - Wege aus der Bürgerlichen Enge" p 1153-198 Other women described in this book: Anita Berber , Betty Stern, Erika Mann and others.
Rolf Giesen, Nazi Propaganda Films - A History and Filmography (Jefferson, 2003)
"Triumph of the Will, the odd case of Leni Riefenstahl" p 18-34 only a few films are reviewed in depth in this book; of the eleven chapters, the chapter about Triumph des Willens is the only one that deals with one film and one director, which shows the importance the author bestows to Triumph des Willens as a nazi propaganda film.
Gianni Haver, Laurent Guido (ed), Images de la femme sportive (Lausanne,2003)
Jerôme Bimbenet: "L'image de la femme sportive dans les films de Leni Riefenstahl et sa réception dans la presse parisienne" p111-122 Leni Riefenstahl as an icon of sport in Arnold Fanck's mountain films, which were shown in France in the thirties; the image Riefenstahl gives of the female participants at the Olympic Games in her film Olympia in which this writer sees the reflection of the established sexual stereotypes.
Hanno Loewy, Béla Balazs- Märchen, Ritual und Film (Berlin, 2003)
"Das blaue Licht" p 320-350 about Balazs' contribution to Das blaue LIcht, an important contribution that has been somewhat occultated by Leni Riefenstahl ever since Hittler came to power. Only in 2002 did Leni Riefenstahl admit that Balazs was to be considered the co-director of Das blaue Licht.
David Blakesley (ed.) , The Terministic Screen (Carbondale, 2003)
Ekaterina V. Haskins "Time, Space and Political Identity: Envisioning Community in Triumph of the Will' p. 92-106
François Delpla, Les tentatrices du diablee (Paris, 2005)
"Leni Riefenstahl" p. 145-203
Werner Beäuninger, "Ich wollte nicht daneben stehen.." (Graz, 2006)
"Stählerne Romantik. Leni Riefenstahl und die ästetisierung der Politik" p 247-266 athis books contains essays about famous Germans artists and intelectuals who lived in the Third Reich, like Alfred Baeumler, Ernst Jünger, Arno Breker and others. In the chapter about Leni Riefenstahl, the author gives an account of Riefenstahl's activities during the Third Reich. Leni Riefenstafl's filmwork is seen as an act of making politics esthetical. The auteur makes a few links between Riefenstahl's work and pop singers like David Bowie.
Reimar Volker, Von oben sehr erwünscht- Die Filmmusik Herbert Windts im NS Propagandafilm (Trier, 2006)
"Die Parteitagfilme" p 48-69, "Anhang zu Die Parteitagfilme" p 168-190 an in-depth analysis of the music Herbert Windt wrote for Der Sieg des Glaubens and Triumph des Willens
Hans Georg Hiller von Gaertringen (ed): Das Auge des Dritten Reiches, Hitlers Kameramann und Fotograf Walter Frentz (Berlin, 2006)
Jürgen Trimborn: "Ein Meister der subjectiven Kamera. Karriere im Windschatten Leni Riefenstahlsl" p 69-81 For Leni Riefenstahl films, talented cameramen have largely contributed to their succes, e.g. Hans Ertl, Willy Zielke. Jügen Trimborn shows the importance of Walter Frentz for Leni Riefenstahl's films, he worked with her for the three Party Rally films, (Der Sieg des Glaubens, Triumph des Willens and Tag der Freiheit) as well as for Olympia.
Sylvia Hovdar "Mein Schweigen half mir nicht, zu vergessen" (Saarbrücken, 2007)
This book deals with autobiographical texts of three women who lived during the Third Reich. Besides Riefenstahl, the women are Traudl Junge and Ilse Schmidt. Leni Riefenstahl's Memoiren from 1902 to 1945 are analysed in chapter 4, "Leni Riefenstahl,: Memoiren 1902-1945" p 32-76.
Jérôme Bimbinet, Film et Histoire (Paris, 2007)
"Triumph des Willesns ou le triomphe du totalitarisme au cinéma " p. 220-228, "Olympia ou la propagande propagée au monde" p. 229-232.
Guido Knopp, Hitlers nützliche Idole Bertelsmann Verlag (München, 2007 )
Guido Knopp-Friedrich Schrerer "Leni Riefenstahl" pp 266-316- The other 'idols' in this book are Heinz Rühmann, Hans Albers, Marika Rökk, Heinrich George and Max Schmelting (there is also a documentary series of this book)
Anna Auer, Uwe Schögl (ed.) Jubilee-30 years European Society for the History of Photography (Vienna, 2008)
Luc Deneulin: "Leni Riefenstahl, the Photographer of the Past" p 292-302
Susan Tegel, Nazis and the Cinema (Brussels, 2008)
"Leni Riefenstahl's Triumph of the Will" p 37-48
Barbara Beck, Die berümsten Frauen der Weltgeschichte Marixverlag (Wiesbaden, 2008)
"Leni Riefenstahl's" p 103-106 (Other women include Clara Schumann, Marie Curie, Mata Hari, Golda Meïr, Maria Callas and Benazir Bhutto, of a total of about 50 women from the 18th century)
Kinga Marietta Szöts, Die Rolle des Geslechts im Gesamtkunstwerk Verlag Dr. Müller (Saarbrücken, 2008)
"Olympia" p 88-111 Olympia seen as a film about the Olympic Games 1936 as a Gesamtkunstwerk
Dietmar Regensburger-Gerhard Larcher (ed.), Para dise now! Politik -Religion- Gewalt im Spiegel des Films Schüren Verlag (Marburg, 2009)
Christian Wessely: "Leni Riefenstahls Triumph des Willens" p 96-111
Johan Swinnen, Luc Deneulin (ed), The Weight of Photography ASP (Brussels, 2010)
Luc Deneulin: "Leni Riefenstahl's career as a photographer reassessed" p 309-322
Edelgard Abendstein, Frauen die gefährlich leben (München, 2010)
"Leni Riefenstahl', Realität interessiert mich nicht"p 36-43 Another book about women in the 20th cenury, other women besides Riefenstahl are, amongst others, Martha Gellhorn, Lisa Fittko, Ulrike Meinhof, Anna Politkowskaja, Ayaan Hirsi Ali, Bonnie Parker and Karen Silkwood.
if there are other books not listed here that you know of, I would be grateful if you were so kind as to bring them to my attention, by sending me an e-mail: email@example.com