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        I'd like to add an addendum to Klaus Eder's message about
Reifenstahl's Tiefland.  I saw Nina Gladitz' film about the making of
Tiefland in 1985 at a conference at the Annenberg school.  Nina's film
makes the charge that Tiefland was made with Gypsy extras from a
concentration camp.  Apparently Reifenstahl promised them their freedom,
used them in the film, and then sent them back to the camp.  If this
really happened, and Klaus' description of the outcome of the court
case suggests that it did, then I think we cannot any longer separate
aesthetics and politics in our consideration of Reifenstahl's work.  The
two are quite obviously linked.  Reifenstahl's very ability to create the
visual effects she envisioned depended on her ability to treat her
subject-actors as subhuman.  She was not only profiting from the Nazi
system, but acting on one of its most basic tenets.
 
        Anne Fischel
        The Evergreen State College