Abstract
Margarethe von Trotta’s Hannah Arendt (2012) does not represent well the life and work of its protagonist. The focus on thinking in the film fails to reflect how Arendt connected it to judging, especially in the midst of modern mass society and in light of political catastrophes. Arendt’s reflections on statelessness are not explored in the film. Finally, the elimination of Karl Jaspers from the storyline results in an incomplete picture of Arendt’s stance toward the jurisdiction of the Jerusalem court. A politically relevant Arendt is obscured in the making of a personal Arendt.
Highlights
The focus on thinking in the film fails to reflect how Arendt connected it to judging, especially in the midst of modern mass society and in light of political catastrophes
In the 2012 biopic directed by Margarethe von Trotta, this is the final objection that straight-talking Frances Wells lodges against the decision by New Yorker editor William Shawn to have Hannah Arendt write a report of the trial of Adolf Eichmann
Elisabeth Young-Bruehl’s biography of Arendt fills in the details for the delay.i In the fall of 1961 Arendt was teaching at Wesleyan and commuting back to New York City, while finishing what would eventually be On Revolution, which she was under contract to complete
Summary
The focus on thinking in the film fails to reflect how Arendt connected it to judging, especially in the midst of modern mass society and in light of political catastrophes. Introduction “Philosophers don’t make deadlines.” In the 2012 biopic directed by Margarethe von Trotta, this is the final objection that straight-talking Frances Wells lodges against the decision by New Yorker editor William Shawn to have Hannah Arendt write a report of the trial of Adolf Eichmann.
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