Leni Riefenstahl y la estética fascista; prueba de la imposibilidad de un arte apolítico

The death of filmmaker Leni Riefenstahl, the September 9, 2003 at age 101, has put his case again before the public review, paradigmatic case of the troubled relationship between art and politics, or more precisely still, among the best art and the worst policy. That's because the worst policy is to reduce the representation to the naked spectacle, being the best art that is capable of passing fiction for fact.Helene Amalie Riefenstahl Bertar born in Berlin on August 22, 1902. After a brief career as a dancer actress starred as mountain films of Arnold Fanck, aficionándose to mountaineering, before moving on to film directing, debuting in 1932 with blue light. In 1933, wishing Hitler, newly come to power, to commission a documentary about the Nazi party to an artist rather than the documentary of the party, hired Leni Riefenstahl's work would end up making four documentaries for Nazism: Der Sieg des Glaubens (The victory of Faith, 1933), triumph des Willens (Triumph of the Will, 1935), Tag der Freiheit Unsere Wehrmacht (Day of Freedom, our armed forces, 1935) and Olympia I and II (Part I : Fest der Volken, Part II: Fest der Sch nheit, 1936-38: Olimpia I: Feast of the people & Olympia II: Festival of beauty). Premiered his latest film Tiefland (Lowland, 1944) in 1954, when Allied authorities and the court had given its collaboration with the Nazi regime after retiring very relevant and the kidnapping of his film production