Art essay in pluralistic world - what is a thesis statement in a rhetorical analysis









art essay in pluralistic world

art essay in pluralistic worldArt essay in pluralistic world -Her first role, in the silent The Holy Mountain (1926), is that of a young dancer named Diotima being wooed by an ardent climber who converts her to the healthy ecstasies of Alpinism.The truth is that four of the six feature films she directed are documentaries, made for and financed by the Nazi government.The introduction, which gives a detailed account of Riefenstahl’s pilgrimage to the Sudan (inspired, we are told, by reading Hemingway’s The Green Hills of Africa “one sleepless night in the mid-1950s”), laconically identifies the photographer as “something of a mythical figure as a film-maker before the war, half-forgotten by a nation which chose to wipe from its memory an era of its history.” Who but Riefenstahl herself could have thought up this fable about what is mistily referred to as “a nation” which for some unnamed reason “chose” to perform the deplorable act of cowardice of forgetting “an era”—tactfully left unspecified—“of its history”?Feminists would feel a pang at having to sacrifice the one woman who made films that everybody acknowledges to be firstrate.There she denied that any of her work was propaganda, insisting it was cinema verité.We also try to avoid criticizing the religious beliefs of any group, except when it obviously hurts other people.It is history—pure history.”Although Triumph of the Will has no narrative voice it does open with a written text that heralds the rally as the redemptive culmination of German history.The first photograph was taken in 1927 when she was twenty-five and already a movie star, the most recent are dated 1969 (she is cuddling a naked African baby) and 1972 (she is holding a camera), and each of them shows some version of an ideal presence, a kind of imperishable beauty, like Elisabeth Schwarzkopf’s, that only gets gayer and more metallic and healthier-looking with old age.But a stronger reason for the change in attitude toward Riefenstahl lies in a shift in taste which simply makes it impossible to reject art if it is “beautiful.” The line taken by Riefenstahl’s defenders, who now include the most influential voices in the avant-garde film establishment, is that she was always concerned with beauty.The mountain climbing in Fanck’s pictures was a visually irresistible metaphor of unlimited aspiration toward the high mystic goal, both beautiful and terrifying, which was later to become concrete in Führerworship.And later in the year Olympiad was the principal German entry at the 1938 Venice Film Festival, where it was awarded the Gold Medal.In fact, since we are a multi-faith group, it is quite likely that the beliefs expressed in these essays will differ from at least some of our staff's opinions.And here is a biographical sketch of Riefenstahl on the dust jacket, and an introduction (unsigned) entitled “How Leni Riefenstahl came to study the Mesakin Nuba of Kordofan”—full of disquieting lies.Part of the impetus behind Riefenstahl’s recent promotion to the status of a cultural monument surely is owing to the fact that she is a woman.(Only Junta, a ragclad outcast girl of the village, is able to reach the blue light safely.) She is brought to her death, not by the impossibility of the goal symbolized by the mountain but by the materialist, prosaic spirit of envious villagers and the blind rationalism of a well-meaning visitor from the city.The jacket copy continues: Riefenstahl’s refusal to submit to Goebbels’ attempt to subject her visualisation of his strictly propagandistic requirements led to a battle of wills which came to a head when Riefenstahl made her film of the 1936 Olympic Games, Olympia.These essays do not necessarily represent the beliefs of any or all of the staff of the Ontario Consultants on Religious Tolerance.With two of the most remarkable documentaries of the 1930s to her credit, Riefenstahl continued making films of her devising, unconnected with the rise of Nazi Germany, until 1941, when war conditions made it impossible to continue.More nonsense: to say that Riefenstahl “continued making films of her devising, unconnected with the rise of Nazi Germany, until 1941.” In 1938, as a present to Hitler, she made Berchtesgaden über Salzburg, a fifty-minute lyric portrait of the Führer against the rugged mountain scenery of his new retreat.Except for the bit about her having once been a household word, in Nazi Germany, not one part of the above is essay in pluralistic worldThis, Goebbels attempted to destroy; and it was only saved by the personal intervention of Hitler.The 1973 New York Film Festival poster, made by a well-known artist who is also a feminist, shows a blond doll-woman whose right breast is encircled by three names: Agnes Leni Shirley.For starters, not only did Riefenstahl not make—or star in—a talkie called The Mountain (1929). More generally: Riefenstahl did not first simply participate in silent films, then, when sound came in, begin directing her own films, in which she took the starring role.It is less than accurate to describe Riefenstahl’s professional relationship to and intimacy with Hitler and Goebbels as “her acquaintance with the Nazi leadership.” Far from being an actress-director whom Hitler happened to fancy and then gave an assignment to, Riefenstahl was a close friend and companion of Hitler’s—long before 1932.No print seems to have survived.)These films were not simply “tensely romantic.” Fanck’s pop-Wagnerian vehicles for Riefenstahl were no doubt thought of as apolitical when they were made but they can also be seen in retrospect, as Siegfried Kracauer has argued, as an anthology of proto-Nazi sentiments.Nevertheless, the idea of her resisting “Goebbels’ attempt to subject her visualisation to his strictly propagandistic requirements” should seem like nonsense to anyone who has seen Triumph of the Will—the most successfully, most purely propagandistic film ever made, whose very conception negates the possibility of the film maker’s having an aesthetic or visual conception independent of propaganda.Anyone who defends Riefenstahl’s films as documentaries, if documentary is to be distinguished from propaganda, is being ingenuous.Triumph of the Will represents an already achieved and radical transformation of reality: history become theater.Her reputation was in eclipse, and she was half forgotten—although to a whole generation of Germans her name had been a household word.Her acquaintance with the Nazi leadership led to her arrest at the end of the Second World War: she was tried twice, and acquitted twice.Examinations and court appearances started in 1948, continuing intermittently until 1952 when she was finally “de-Nazified” with the verdict: “No political activity in support of the Nazi regime which would warrant punishment.” Most important: whether or not Riefenstahl deserved punishment at the hands of the law, it was not her “acquaintance” with the Nazi leadership but her activities as a leading propagandist for the Third Reich that were at issue.This is because of many long term studies involving tens of thousands of individuals from childhood to their 20's.Olympiad is actually two films, one called Festival of the People (Fest der Völker) and the other Festival of Beauty (Fest der Schönheit).Moreover, any suggestion that Goebbels had the power to interfere with Riefenstahl’s work is unrealistic.These tensely romantic productions were widely admired, not least by Adolf Hitler who, having attained power in 1933, commissioned Riefenstahl to make a documentary on the Nuremberg Rally in 1934.Quite often, they will express a single opinion and reject all other interpretations of the Torah, Christian Scriptures, Qur'an, etc. We will seriously consider adding it to this section.The jacket copy of The Last of the Nuba summarizes faithfully the main line of the self-vindication which Riefenstahl fabricated in the 1950s and which is most fully spelled out in the interview she gave to the prestigious French magazine Cahiers du Cinéma in September, 1965.We don't want to be even partly responsible for the suffering that an essay advocating spanking would probably generate.Far from being an artist who was conscripted for a political task and later ran into trouble, Riefenstahl was, as she relates in the book she published in 1935 about the making of Triumph of the Will, in on the planning of the rally—which was, from the beginning, conceived as the set of a film spectacle.Riefenstahl has been maintaining in interviews since the 1950s that both Olympics films were commissioned by the International Olympic Committee, produced by her own company, and made over Goebbels’s protests. art essay in pluralistic world Riefenstahl starred in it as well, playing a role similar to the ones in Fanck’s films for which she had been “so widely admired, not least by Adolf Hitler,” but allegorizing the dark themes of longing, purity, and death that Fanck had treated rather scoutishly.Clearly Riefenstahl would prefer to give the impression that there were only two documentaries in an otherwise long career as a director.In 1939, she accompanied the invading Wehrmacht into Poland as a uniformed army war correspondent with her own camera team; but there is no record of any of this material surviving the war.(Could the publishers have let LR write the jacket copy herself?Besides the evidence of the film itself, the facts (denied by Riefenstahl since the war) tell quite another story.To cast Riefenstahl in the familiar role of the individualist-artist, defying philistine bureaucrats and censorship by the patron state, is a bold try.In Triumph of the Will, the document (the image) is no longer simply the record of reality; “reality” has been constructed to serve the image.In the intractable desert of the southern Sudan live about eight thousand aloof, godlike Nuba, emblems of physical perfection, with large, well-shaped, partly shaven heads, expressive faces, and muscular bodies which are depilated and decorated with scars; smeared with sacred gray-white ash, the men prance, squat, brood, wrestle in the arid sand.In her book published in 1935, Riefenstahl had told the truth.Her third film, Day of Freedom: Our Army (Tag der Freiheit: Unsere Wehrmacht, 1933; released in 1935), was made for the army, and depicts the beauty of soldiers and soldiering for the Führer.(The film not directed by Fanck is Fate of the House of Hapsburg, a royalist weepie made in Austria in which Riefenstahl played Marie Vetsera, Crown Prince Rudolf’s co-suicidee at Mayerling.We reserve the right to reject any entries for a range of reasons, including: Advocate corporal punishment of children.Riefenstahl worked for two years on the editing, finishing in time so that the film could have its world premiere on April 29, 1938, in Berlin, as part of the festivities for Hitler’s forty-ninth birthday.After Olympiad, Riefenstahl made exactly one more feature film, Tiefland, which she began in 1941 and, after an interruption, finished in 1944 (in the Barrandov Film Studios in Nazi-occupied Prague).They show that rates of clinical depression, alcohol addiction, drug addiction and anxiety attacks in adulthood increase with the frequency of spanking.No evidence supports Riefenstahl’s persistent claim since the 1950s that Goebbels hated her.The character that Riefenstahl generally played was that of a wild girl who dares to scale the peak that others, the “valley pigs,” shrink from.Tiefland, already in preparation in 1934, has echoes of The Blue Light, and once again the protagonist (played by Riefenstahl) is a beautiful outcast; it was released in 1954 to resounding indifference.The Nuremberg Rally “was planned not only as a spectacular mass meeting—but as a spectacular propaganda film….As usual, the mountain is represented as both supremely beautiful and dangerous, that majestic force which invites the ultimate affirmation of and escape from the self—into the brotherhood of courage and into death. art essay in pluralistic world This character underwent a progressive aggrandizement. In her first talkie, Avalanche (1930), Riefenstahl is a mountain-possessed girl in love with a young meteorologist, who saves him when he is stranded on his storm-wrecked observatory on the peak of Mont Blanc. Her first, which was released in 1932, was another mountain film—The Blue Light (Das Blaue Licht).For this film, like the previous ones, Riefenstahl had Goebbels’s full support.(Riefenstahl had already gotten the Gold Medal at the government-sponsored Venice festival in 1932 for The Blue Light.) Even the plausible-sounding legend of Goebbels objecting to her footage of the triumphs of the black American track star Jesse Owens is untrue.Parents try to keep their children home behind closed window shutters, but the young are drawn away like somnambulists and fall to their deaths on the rocks.)The role Riefenstahl devised for herself is of “Junta,” a primitive creature who has a unique relation to a destructive power.What happened is that she was briefly arrested by the Allies in 1945 and two of her sumptuous houses (in Berlin and Munich) were seized.One hesitates to entertain so unkind a thought, although “her first devotion was to dancing” is a phrase few native speakers of English would be capable of.)The facts are, of course, inaccurate or invented.From the first to the last of all nine films she ever acted in, Riefenstahl was the star; and seven of these she did not direct.The essays below often deviate from the standards that we use. If you are distressed at the contents of any of these essays, we invite you to write a rebuttal and submit it to us.She was a friend, not just an acquaintance, of Goebbels, too.(It does, however, dare more than the all-concealing brevity of Harper & Row’s ads for The Last of the Nuba, which identify Riefenstahl simply as “the renowned film maker.”)Compared with the introduction, the jacket of the book is positively expansive on the subject of the photographer’s career, parroting the misinformation that Riefenstahl has been dispensing for the last twenty years.The purification of Leni Riefenstahl’s reputation of its Nazi dross has been gathering momentum for some time, but it reached some kind of climax this past year, with Riefenstahl the guest of honor at a new cinéphile-controlled film festival held in the summer in Colorado and the subject of a two-part interview program on CBS’s “Camera, Three,” and now with the publication of The Last of the Nuba.This led to her participation in silent films, and soon she was herself making—and starring in—her own talkies, such as The Mountain (1929).These seven films were: The Holy Mountain (Der Heilige Berg, 1926), The Big Jump (Der Gross Sprung, 1927), Fate of the House of Hapsburg (Das Schicksal derer von Hapsburg, 1929), The White Hell of Pitz Palü (Die Weisse Hölle von Piz Palü, 1929)—all silents—followed by Avalanche (Sturm über dem Montblanc, 1930), White Frenzy (Der Weisse Rausch, 1931), and SOS Iceberg (SOS Eisberg, 1932-1933). Arnold Fanck, auteur of hugely successful Alpine epics since 1919, whose career, after Riefenstahl left him to strike out on her own as a director in 1932, petered out with a German-Japanese coproduction, The Daughter of the Samurai (Die Tochter des Samurai, 1937), and A Robinson Crusoe (Ein Robinson, 1938), both flops.(Normally she would have been under the “Short and Propaganda Production” section of the Reich Film Chamber of Goebbels’s ministry of propaganda.)Last, it is misleading to say that Riefenstahl was “tried twice, and acquitted twice” after the war.(Junta knows that the blue light is emitted by precious stones; being a creature of pure spirit, she revels in the jewels’ beauty, indifferent to their material value.The truth is that the films were commissioned and entirely financed by the Nazi government (a dummy company was set up in Riefenstahl’s name because it was thought “unwise for the government itself to appear as the producer”) and facilitated by Goebbels’s ministry at every stage of the shooting.(On nights when the moon is full, a mysterious blue light radiates from the peak of Mount Cristallo, luring the young villagers to try to climb it.Anon: "A personal story of religious conversion from Agnosticism to Bible-believing Christianity" Anon: "Practicing a simpler Christianity: less belief, more experience and practice" Anon: "Does progress depend on accepting Jesus Christ or rejecting the Bible?There was never any struggle between the film maker and the German minister of propaganda.But she falls in love with a vacationing painter and naively confides in him the secret. art essay in pluralistic world The introduction, which gives a detailed account of Riefenstahl’s pilgrimage to the Sudan (inspired, we are told, by reading Hemingway’s The Green Hills of Africa “one sleepless night in the mid-1950s”), laconically identifies the photographer as “something of a mythical figure as a film-maker before the war, half-forgotten by a nation which chose to wipe from its memory an era of its history.” Who but Riefenstahl herself could have thought up this fable about what is mistily referred to as “a nation” which for some unnamed reason “chose” to perform the deplorable act of cowardice of forgetting “an era”—tactfully left unspecified—“of its history”? art essay in pluralistic world

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