In identify to examine Leni Riefenstahls role in the development of burnish in Germ any, it is first necessary to examine whether her carrys amount to refining at all, or topropaganda, or to a combination of both.
The wonder of Riefenstahls films being propaganda plagued her carrer from the late
1930s until her death, as is evident by a fifty year lapse in her filmography records. At
the time, her film Triumph des Willens was condemned by the United States and the
European assort as a propaganda film, not, as Riefenstahl later claimed, as a
accusative of a propaganda event.
The part of the given statement to which many historians think particular issue with is
that [Riefenstahl] intended to glorify the Nazis. The Hull2 school contends that
the Nazi cinema was an ideological free trade zone - as long as films were popular
and stayed away from overtly political topics - thereby labelling Riefenstahl an artist
only. Popular opinion labels Riefenstahl a propagandist. In 1947 the French classified
her as a Fellow Traveller A Nazi sympathiser.
more(prenominal) recent schools of thought such
as that expressed by Linda Schulte-Sasse3 signal that filmmakers including
Riefenstahl were indeed propagandists, but that this is justifiable in context, therefore
that they also ought to be praised for their contribution to culture.
The popular school of thought suggests that those viewing Riefenstahls films as
masterpieces are viewing them in a vacuum, without any reference to the context of
the time. In Triumph des Willens, for example, Hitler, it is suggested, is deified.
on the face of it endless marching scenes are said to glorify the militarization (against the
Treaty of Versailles) of Germany. The content of one of the speeches can be seen to
be anti-semetic and racist.
Proponents of this view support Riefenstahls own claims that she had...If you want to present a full essay, order it on our website: Ordercustompaper.com
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