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