Leni Riefenstahl

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Leni Riefenstahl
Websityo
leni-riefenstahl.de

Helene Bertha Amalia Riefenstahl  [1][2] ;22 Agosto 1902 - 8 Setyembre 2003) sarong German na direktor, prodyuser, screenwriter, editor, retratista asin aktres na midbid sa pagprodusir kan propagandang Nazi.[3] 

Siya sarong may talentong paralangoy asin artista, si Riefenstahl nagkainteres sa pagbayle kan siya aki pa, nag - adal asin nagpasali sa bilog na Europa. Pagkatapos mahiling an sarong patiribayan para sa 1924 na pelikula Mountain of Destiny, siya buminalyo sa pag-akting asin sa tahaw nin 1925 sagkod 1929 na guminampan sa limang mapangganang pelikula. Si Riefenstahl nagin saro sa pira sanang babae sa Alemania na iyo an nagdidirehir kan pelikula sa panahon nin Weisar, kaidtong 1932, nagdesisyon siya na probaran na magdirehir sa sadiri niang pelikula, si Das Blaue Licht ("The Blue Light").[4]

Kan mga 1930, saiyang pinanginotan an Nazi propagandang pelikula na Triumph of the Will (1935) asin Olimpyada (1938), na nagresulta sa pambilog na kinaban na atensyon asin pag-onra. An mga pelikula mahiwas na pinagkokonsiderar na duwa sa pinakaepektibo asin teknikal na impormasyong propaganda films na naisagibo. Pero, an saiyang pakikilabot sa Triumph of the Will naraot na marhay an saiyang karera asin reputasyon pakatapos kan Guerra Mundial II. [5]Si Adolf Hitler nagtabang na marhay ki Riefenstahl durante kan pagprodusir nin kisuerra tolong mahalagang pelikulang Nazi, asin sinda nagin makikatood.[2]

Pakatapos kan gera, si Riefenstahl inaresto asin nakuang sarong Nazi na "kapwa parabyahe" alagad dai man nahatulan kan Mga krimen sa guerra. [5][6] Sa bilog niyang huring buhay, nagsabi siyang dae isi an manungod an Holocaust, asin pigtuyaw bilang "voice of the 'how could we have known?' depensya [7][5] An trabaho ni Riefenstahl kaiba an autobiography asin duwang libro sa retratista dapit sa mga taga-Nuba.

Reperensya[baguhon | baguhon an source]

  1. ↑ "Leni Riefenstahl, artiste asservie au nazisme" (in fr). Le Monde.fr. 2003-09-10. https://www.lemonde.fr/archives/article/2003/09/10/leni-riefenstahl-artiste-asservie-au-nazisme_333414_1819218.html. 
  2. ↑ "La cinéaste allemande Leni Riefenstahl est morte – La réalisatrice allemande Leni Riefenstahl, qui mit sa caméra au service d'Hitler, est décédée lundi soir à l'âge de 101 ans, selon une journaliste se présentant comme très proche". Le Monde.fr. 9 September 2003. https://www.lemonde.fr/archives/article/2003/09/09/la-cineaste-allemande-leni-riefenstahl-est-morte_333315_1819218.html. 
  3. ↑ "Leni Riefenstahl ou le talent artistique au service d'une entreprise de mort – La cinéaste officielle du régime hitlérien aura cent ans le 22 août. Un destin qui épouse l'histoire du XXe siècle et pose la question des liens entre esthétique et idéologie". Le Monde.fr. 15 August 2002. https://www.lemonde.fr/archives/article/2002/08/15/leni-riefenstahl-ou-le-talent-artistique-au-service-d-une-entreprise-de-mort_4251976_1819218.html. 
  4. ↑ Indifference, Identification, and Desire in Virginia Woolf's Three Guineas, Leni Riefenstahl's The Blue Light and Triumph of the Will, and Leontine Sagan's Maedchen in Uniform. 2010. 
  5. ↑ Connolly, Kate (9 December 2021). "Burying Leni Riefenstahl: one woman's lifelong crusade against Hitler's favourite film-maker". The Guardian. https://www.theguardian.com/news/2021/dec/09/burying-leni-riefenstahl-nina-gladitz-lifelong-crusade-hitler-film-maker. "Jürgen Trimborn, author of a highly critical biography published in 2002, declared that there was "no evidence that, due to her proximity to the regime, Riefenstahl knew more than others did about the mass annihilation of the Jews. But it is obvious that, like most Germans, she knew enough to be sure that it was better not to know even more." (Gladitz would later judge this analysis as far too generous.)" 
  6. ↑ Kakutani, Michiko (13 May 2007). "Triumph of Willful Blindness to the Horror of History". The New York Times. https://www.nytimes.com/2007/03/13/books/13kaku.html. "Riefenstahl would repeatedly ignore or deny news reports of anti-Semitic atrocities in Germany. Mr. Bach reports that she claimed not to believe reports about Kristallnacht, shrugging it off as slander on her homeland, and that during a 1938-39 trip to the United States, she told a reporter that as an artist she could not be expected to know about events, even if the rest of the world did. . . . In 1940, with the fall of Paris, Riefenstahl wrote Hitler an ecstatic telegram: 'With indescribable joy, deeply moved and filled with burning gratitude, we share with you, my Führer, your and Germany's greatest victory, the entry of German troops into Paris. You exceed anything human imagination has the power to conceive, achieving deeds without parallel in the history of mankind.' This from a woman who wanted history to see her simply as an artist, who falsely denied ever making anti-Semitic statements, who implausibly claimed she knew next to nothing about Hitler's persecution of the Jews, a woman who never acknowledged moral accountability for the role her movies played in promoting Hitler and his cause . . . ." 
  7. ↑ Bach, Steven (Autumn 2002). The Puzzle of Leni Riefenstahl. https://www.jstor.org/stable/40260668. "Riefenstahl disturbs because she remains the adamant, fierce, glib voice of the 'how could we have known?' defense, an argument fewer and fewer Germans, and almost none of the current generation, still feel comfortable making.". 
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