I'm intrigued by your comments defending Griffith, but excoriating Riefenstahl. I had the chance to see both Tiefland and Blaues Licht when they were at Film Forum. For the Blaues Licht, I found it astonishing that as a first work she could make use of a visual vocabulary that seems to come from German Romantic painting. Tiefland surprised me, too, because it could easily be taken as a socialist/anti-authority in which the little man wins over the entrenched authority. It would be hard to see it in any way as Nazi-inspired. That a large part of Riefenstahl's production was pro-Nazi seems to me like an unfair argument. Who knows what she would have produced had she been allowed to find finance for films after 1945. Perhaps she would have glorified the rearmament of Germany under American auspices. Edward J. Haupt snail: voice: 1(201) 655-4327 Department of Psychology internet: [log in to unmask] Montclair State University bitnet: haupt@njin 1 Normal Ave. fax: 1(201) 655-5455 Upper Montclair, NJ 07043-1624 USA