Her work can never be viewed in isolation from nazism … Riefenstahl welcomes Hitler in her villa in Berlin-Dahlem in 1937.
2024-08-29 776词 中等
Riefenstahl’s defence, for the record, was that she was an artist not a politician, a slave to beauty and therefore a little naive in allowing herself to be co-opted and commissioned by Hitler and Goebbels. Triumph of the Will, her 1935 salute to the Nazi Party Congress in Nuremberg, wasn’t propaganda, she says, but a film “about peace and work”. The body fascism of Olympia, moreover, was colourblind, free from racial prejudice and could just as easily be applied to Jesse Owens as to the Fuhrer’s Aryan supermen. “Art is the opposite of politics,” she explains. And besides, “anyone would have done” what she did at the time. “Should I have been a resistance fighter?” she scoffs when confronting a critic on a 1970s chatshow.
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