Thesis--University of Southern California, 1980. / Facsimile reproduction by microfilm-xerography.

Thesis--University of Southern California, 1980. / Facsimile reproduction by microfilm-xerography.

Frankfurt (Oder), Europa-Universiẗat, Diss., 2004. / Erscheinungsjahr an der Haupttitelstelle: 2004.

Frankfurt (Oder), Europa-Univ., Diss., 2004.

This screenplay dramatizes the controversial career of German film maker Leni Riefenstahl during ten years of her association with the Nazi Party. Beginning with the premiere of her first film in 1932, this account chronicles her rise as a film director of such films as Triumph of the Will and Olympia to her arrest after World War II on charges that she had been a Nazi sympathizer. Besides delineating the character and talents of Leni Riefenstahl, this screenplay addresses the difficult question of the relationship between politics and art.

Critics have analyzed Leni Riefenstahl's four feature length films from 1932 to 1954 largely for their depictions of fascist ideals while often neglecting how they represent gender. Viewing Riefenstahl's films using the theoretical gender models of Judith Butler and R.W. Connell provides a greater understanding of gender roles in Germany during both the Weimar and Nazi eras. Beginning with Das Blaue Licht (The Blue Light, 1932), and continuing to Triumph des Willens (Triumph of the Will, 1935), Olympia (1938), and concluding with Tiefland (The Lowlands, 1954), there is a clear evolution of how Riefenstahl understood and represented gender. Riefenstahl's earliest film Das Blaue Licht depicts a strong and independent female protagonist in Junta, but with the rise of fascism in Germany this type of character disappears and evolve into the weak and helpless figures like Martha in Tiefland. This study will look at these films within the cultural context of early-twentieth century Germany and National Socialism to consider how Riefenstahl's films participate in the understanding, articulation, and performance of gender at a crucial turning point in the history of Western Culture.

O propósito principal desta tese de doutorado é desenvolver um estudo de histórias conectadas sobre a expansão internacional do modelo de cinema nazista na Europa e na América Latina, durante as décadas de 1930 e 1950. A influência da Alemanha nazista sobre as indústrias de cinema e as produções cinematográficas da Itália fascista, de Portugal salazarista, da Espanha franquista, do Brasil varguista e da Argentina peronista, representou a tentativa de Berlim tornar-se a Nova Hollywood Mundial e teve importantes implicações políticas, culturais e econômicas em todos esses regimes políticos de massas, que nos propomos analisar. A tese analisa também três instituições político-culturais privilegiadas do III Reich: 1) O Ministério Nacional para Esclarecimento Público e Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), através do qual o ministro da propaganda nazista, Dr. Joseph Goebbels, empenhou-se na conquista do controle total dos meios de comunicação de massa, na reestruturação forçada das indústrias cinematográficas e na padronização das sessões de cinema, impondo uma produção obrigatória, planejada para aumentar o potencial propagandístico do cinema; 2) A Câmara Internacional de Cinema (Internationale Filmkammer IFK), uma organização internacional de representantes da indústria cinematografia de vinte e duas nações, fundada em 1935 para estabelecer o controle hegemônico da Alemanha nazista sobre um espaço europeu econômico e cultural integrado, que pudesse rivalizar com os modelos de cinema dos Estados Unidos da América e da União Soviética e; 3) A Hispano-Film-Produktion (HFP), através da qual o cinema nazista tentou conquistar os mercados hispânicos (Espanha e América Latina). Em termos gerais, a análise das políticas governamentais, dos principais temas políticos apresentados nos filmes, da influência da censura e de outros aspectos relacionados à produção cinematográfica, tais como legislação, políticas de crédito e sistemas de co-produções entre esses regimes políticos de massas, pretende mostrar como o cinema mundial foi influenciado e controlado pela Alemanha nazista, mas apresentou especificidades que procuramos mostrar neste trabalho. / The main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.

O propósito principal desta tese de doutorado é desenvolver um estudo de histórias conectadas sobre a expansão internacional do modelo de cinema nazista na Europa e na América Latina, durante as décadas de 1930 e 1950. A influência da Alemanha nazista sobre as indústrias de cinema e as produções cinematográficas da Itália fascista, de Portugal salazarista, da Espanha franquista, do Brasil varguista e da Argentina peronista, representou a tentativa de Berlim tornar-se a Nova Hollywood Mundial e teve importantes implicações políticas, culturais e econômicas em todos esses regimes políticos de massas, que nos propomos analisar. A tese analisa também três instituições político-culturais privilegiadas do III Reich: 1) O Ministério Nacional para Esclarecimento Público e Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), através do qual o ministro da propaganda nazista, Dr. Joseph Goebbels, empenhou-se na conquista do controle total dos meios de comunicação de massa, na reestruturação forçada das indústrias cinematográficas e na padronização das sessões de cinema, impondo uma produção obrigatória, planejada para aumentar o potencial propagandístico do cinema; 2) A Câmara Internacional de Cinema (Internationale Filmkammer IFK), uma organização internacional de representantes da indústria cinematografia de vinte e duas nações, fundada em 1935 para estabelecer o controle hegemônico da Alemanha nazista sobre um espaço europeu econômico e cultural integrado, que pudesse rivalizar com os modelos de cinema dos Estados Unidos da América e da União Soviética e; 3) A Hispano-Film-Produktion (HFP), através da qual o cinema nazista tentou conquistar os mercados hispânicos (Espanha e América Latina). Em termos gerais, a análise das políticas governamentais, dos principais temas políticos apresentados nos filmes, da influência da censura e de outros aspectos relacionados à produção cinematográfica, tais como legislação, políticas de crédito e sistemas de co-produções entre esses regimes políticos de massas, pretende mostrar como o cinema mundial foi influenciado e controlado pela Alemanha nazista, mas apresentou especificidades que procuramos mostrar neste trabalho. / The main purpose of this PhD Thesis is to develop a connected histories study on the international expansion of Nazi Cinemas model in Europe and Latin America, during the 1930s and 1950s. The Nazi Germanys influence over the film industries and cinematographs productions of Mussolinis Italy, Salazars Portugal, Francos Spain, Vargas Brazil, and Perons Argentine, represented the Berlins ruthless attempts at becoming the New World-Wide Hollywood, and also had important political, cultural and economical implications in all these mass political regimes, that we proposed to analyze. The thesis also analyzes three privileged political-cultural institutions of the III Reich: 1) The Reich Ministry for Popular Enlightenment and Propaganda (Reichsministerium für Volksaufklärung und Propaganda - RMVP), through which the Nazi propaganda minister, Dr. Joseph Goebbels, sought to achieve total control of the mass media communications, forced restructuring of national film industries, and standardized film screening by imposing a compulsory production, designed to enhance films propagandistic potential; 2) The International Film Chamber (Internationale Filmkammer IFK), a international organization of national film industry representatives from twenty-two nations, founded in 1935 to establish a Nazi Germany hegemonic control over an integrated European economic and cultural space that could rival the United States of America and the Soviet Union cinemas models, and; 3) The Hispano-Film-Produktion (HFP), through which Nazi cinema tried to conquer Spanish markets (Spain and Latin America). In general terms, the analysis of the governmental policies, the main politics themes presented on the films, the influence of censorship, and others aspects related to the cinematograph productions, such as legislation, credit policies, and co-productions system between these mass political regimes, present how the world cinema was influenced and controlled by Nazi Germany, but presented specificities that we intend to point out in these PhD thesis.

Moments before the Weimar Republic succumbed National Socialism, and their paths sharply diverged as a result, Leni Riefenstahl and Béla Balázs collaborated to make Das Blaue Licht. Within a year of their collaboration Riefenstahl was working closely with Hitler on plans for Triumph of the Will, and Balázs, a Hungarian Jew, had fled to Moscow without credit or payment for Das Blaue Licht, which he co-wrote and co-directed. This thesis explores multiple readings of Das Blaue Licht, as a modern text, a fascist text, and ultimately, one that exists in a complex gray zone.

Thesis (M.A.)--University of Nevada, Reno, 2008. / "August, 2008." Includes bibliographical references (leaves 97-103). Online version available on the World Wide Web.