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<title>Leni Riefenstahl : a memoir / Leni Riefenstahl.</title>
<description>  &lt;p style="line-height: 200%" class="MsoNormal"&gt;Riefenstahl, Leni.&lt;span&gt;&amp;nbsp; &lt;/span&gt;&lt;u&gt;Leni Riefenstahl: A Memoir&lt;/u&gt;.&lt;span&gt;&amp;nbsp; &lt;/span&gt;New York: St. Martin&amp;rsquo;s Press, 1993.&lt;/p&gt;  &lt;p style="line-height: 200%" class="MsoNormal"&gt;&amp;nbsp;&lt;/p&gt;  &lt;p style="line-height: 200%" class="MsoNormal"&gt;&lt;span&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;/span&gt;The chapter &amp;ldquo;Problems and Worries&amp;rdquo; in Leni Riefenstahl&amp;rsquo;s memoirs describes the harassment she received from Joseph Goebbels, the Nazi Minister of Propaganda, during the making of &lt;em&gt;Olympia&lt;/em&gt;.&lt;span&gt;&amp;nbsp; &lt;/span&gt;Goebbels requested that she include less footage of &amp;ldquo;niggers&amp;rdquo; in the film and that she dismiss her press chief because of his marriage to a &amp;ldquo;non-Aryan&amp;rdquo; wife.&lt;span&gt;&amp;nbsp; &lt;/span&gt;Riefenstahl ignored both demands, and Goebbels resultantly cut off her funding in an effort to take over production of the film.&lt;span&gt;&amp;nbsp; &lt;/span&gt;She appealed to Hitler, giving him a police report indicating the Ministry of Propaganda had previously had members of her staff arrested.&lt;span&gt;&amp;nbsp; &lt;/span&gt;Her work was then removed from the auspices of the Ministry of Propaganda and placed under Rudolf Hess, which, to Riefenstahl&amp;rsquo;s delight, ended any harassment and interference during the film&amp;rsquo;s production.&lt;/p&gt;  &lt;p style="line-height: 200%" class="MsoNormal"&gt;&lt;span&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;/span&gt;This chapter is significant to the question of &lt;em&gt;Olympia&lt;/em&gt; as propaganda because it supports Riefenstahl&amp;rsquo;s claim that her work was not propaganda.&lt;span&gt;&amp;nbsp; &lt;/span&gt;Riefenstahl&amp;rsquo;s account describes her work as not an instrument of the Ministry of Propaganda, but rather a nuisance.&lt;span&gt;&amp;nbsp; &lt;/span&gt;She refused to bow to Goebbels&amp;rsquo;s demands that would have incorporated propagandistic elements into the film.&lt;span&gt;&amp;nbsp; &lt;/span&gt;When her film was removed from the Ministry&amp;rsquo;s authority, she noted that she felt liberated, suggesting that her film should be understood as artistically free and without political influence.&lt;/p&gt;</description>
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