The Last of the Nuba
Die Nuba von Kau |
The Last of the Nuba is the English-language title of German film director
claiming that it adhered to a "fascist aesthetic".Overview
Between 1962 and 1977, Riefenstahl had been photographing people of different
Together with George Rodger's earlier photo essay on the Nuba and Latuka tribes, published in 1951 in National Geographic magazine,[5] Riefenstahl's photographic documents are of anthropological, ethnological, and cultural-historical importance in relation to traditional life in the Nuba mountains of these times.
Reception
In her native Germany, the Art Director's Club of Germany awarded Riefenstahl a gold medal for the best photographic achievement of 1975.[6]
Shortly after its 1974 release in America, the critic
In December 1974, American writer and photographer
She uses the light purposefully: the full, blinding brightness to make us see the ail‐absorbing blackness of the skin; the ray of light slanting down from the single hole, high in the wall, that is the doorway of the circular house, which tells us how secret and safe it has been made; the first dawn light streaking the face of a calf in the sleeping camp where the young men go to live, which suggests their world apart. All the pictures bring us the physical beauty of the people: a young girl, shy and mischievous of face, with a bead sewn into her lower lip like a permanent cinnamon drop; a wrestler prepared for his match, with his shaven head turned to look over the massive shoulder, all skin color taken away by a coating of ashes.
— Eudora Welty, Africa And Paris And Russia
Academic studies, giving critical appraisals of Riefenstahl's books on the Nuba people, have been published by Alexandra Ludewig of the University of Western Australia[9] and by anthropologist James C. Faris of the University of Connecticut.[10] In his biography on Riefenstahl, the German media critic Rainer Rother gives a detailed account of her repeated visits to the Nuba people, comparing her approach to taking the photographs that seem to have started with a personal fascination of an African world, "unspoilt by civilization", up to her later carefully planned photo expeditions in order to further her fame as a photographer.[11]
Another examination of both Riefenstahl's books and of James C. Faris's criticism was undertaken as a comment on a television film, called The Nuba from the BBC “Worlds Apart” ethnographic series.
We feel guilt at the pleasure we take in their beauty and their sensuality. One reason for this is because we know that it is, to a significant extent, the forces unleashed on the world by our own civilisation that are destroying such cultures, even as we celebrate them.
— John Ryle, Invasion of the Bodysnatchers
See also
- Nuba
- George Rodger
References
- ^ Callow, Simon (12 May 2007). "'As pretty as a swastika'". The Guardian. Retrieved 23 December 2020.
- ^ "Leni Riefenstahl (obituary)". The Times. 10 September 2003. Retrieved 23 December 2020.
- ^ "Leni Riefenstahl: THE NUBA 1/13". www.leni-riefenstahl.de. Retrieved 2019-11-27.
- ^ Inverné, Claude (2015). "Gadalla Gubara". elnour.org. Archived from the original on 2019-12-11. Retrieved 2021-04-05.
- ^ Schuman, Aaron (5 June 2017). "'Lost' early photographs shed light on Sudan's Nuba and Latuka tribes". CNN. Retrieved 27 November 2019.
- ^ Leni Riefenstahl interviewed by Kevin Brownlow Taschen
- ^ Sontag, Susan (February 6, 1975). "Fascinating Fascism". The New York Review of Books. Retrieved 9 February 2018.
- ^ Welty, Eudora (1 December 1974). "Africa And Paris And Russia". The New York Times. Retrieved 23 December 2020.
- S2CID 161232895.
- ISSN 0143-9685.
- ISBN 978-1-4411-5901-4.
- ^ Ryle, John. "Invasion of the body snatchers". johnryle.com. Retrieved 2020-06-03.
Further reading
- George Paul Meiu: Riefenstahl on Safari. Embodied Contemplation in East Africa, in: Anthropology Today, 24/2 (2008), pp. 18–22.
- Guinevere Narraway: Control and Consumption. The Photographs of Leni Riefenstahl, in: Neil Christian Pages, Mary Rhiel, Ingeborg Majer-O’Sickey (Eds.): Riefenstahl screened. An Anthology of New Criticism, New York 2008, pp. 219–233.