This online mentoring course takes you step-by-step through the script development process as you create ideas, outline your story, and craft the first draft of your showcase spec script. The course is asynchronous (which means we don't meet at a specific time, but you can check into class anytime it's convenient 24/7).
Thursday, January 19thSeeking Our Story presents director Leni Riefenstahl's TRIUMPH OF THE WILL as a cautionary lesson on the power of media and art in politics. This screening is co-presented with the USC School of Cinematic Arts Events program. Seeking Our Story is sponsored in part by Alliance of Women Directors. A panel and Q&A with USC faculty members Wolf Gruner, Dr. Michael Renov and Steven Ross will precede the film.
Networking before the film will be provided by Women In Media starting at 6:00PM. To join the networking portion of the evening, RSVP to email@example.com.
Thanks to USC, this open to the public event is presented for Free! RSVPs are required - be sure to secure a ticket. Seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full.
The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $12.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Ave. We recommend Parking Structure D, at the far end of 34th Street. Metered street parking is also available along Jefferson Blvd.
About Leni Riefenstahl
A dancer and movie actress by trade, Leni Riefenstahl directed her first film, The Blue Light in 1932 at the age of 30. Soon after, she received a commission from the Nazi Party for propaganda film The Victory of Faith (1933) followed by Triumph of the Will (1935). Though claimed as cinema verite, Reifenstahl carefully choreographed a crew of over one-hundred and seventy technicians throughout the city of Nuremberg for Triumph of the Will and rehearsed sequences as many as fifty times before the anticipated rally, staged largely for her cameras.
Riefenstahl commented that in this commission, Hitler "wanted a film which would move, appeal to, impress an audience which was not necessarily interested in politics." Through visual repetition and an appeal to emotion over reason, Riefenstahl created a masterwork of propaganda that announced Germany's rise from political instability to world superpower. As Ruth Starkman wrote for the University of California Press' Film Quarterly, Riefenstahl "presides as the 'mother' of modern media" (Vol. 51 No. 2.) The Economist claimed upon Riefenstahl's death that Triumph of the Will, "sealed her reputation as the greatest female film-maker of the 20th century" (Hand Held History, Sep 11th 2003).
Riefenstahl also created Day of Freedom: Our Armed Forces (1935) depicting a mock battle scene at the seventh Nazi Party rally as well as Olympia Part 1: Festival of the Nations and Olympia Part 2: Festival of Beauty both documenting the 1936 Olympics held in Berlin and pioneering techniques used in modern sports photography. Her adaptation of Tiefland aka Lowlands (1954) was her last film before being taken prisoner by the Allies at the close of World War II. After her release, Riefenstahl published extensive photographic documentation on the Nuba peoples of Sudan in the 1970s. At age 100, before her death a year later, Riefenstahl created Impressions of the Deep (2002) documenting the remaining coral reefs.
Every third Friday of the month, the Goethe-Institut San Francisco will present recent German films ranging from small, independent productions to box office hits. All screenings are in German with English subtitles. Admission is free!
For over 20 years now doctor Ebbo Velten is working in several African countries as a development aid worker. Although his wife is with him most of the times, their daughter is going to college in Wetzlar, Germany. One time, after she visits her parents, Ebbo and his wife decide to move back to Germany.
Three years later: Alex Nzila a young employee at the World Health Organization with Congolese origins is sent over to Cameroon to evaluate a development aid project. The project was initiated to stem an epidemic of sleeping sickness and is run by Ebbo Velten. Now, Ebbo is a destructive lost soul torn by his family in Germany and a new one he has built in Cameroon. Alex quickly comes to realize that things are not as they are supposed to be.
"An unwieldy, breathtakingly precise narration on the attempt of breaking out of commitment. The meandering flow of scenes and images describes its setting as a thoroughly confusing environment." Lexikon des internationalen Films