{"id":451,"date":"2020-07-11T17:31:16","date_gmt":"2020-07-11T17:31:16","guid":{"rendered":"http:\/\/weblog2.com\/b\/?p=451"},"modified":"2020-07-11T17:33:32","modified_gmt":"2020-07-11T17:33:32","slug":"2046","status":"publish","type":"post","link":"https:\/\/www.andreaswacker.com\/blog\/2020\/07\/11\/2046\/","title":{"rendered":"2046"},"content":{"rendered":"\n<p>Anne Haeming <a href=\"https:\/\/taz.de\/Kritik-an-Leon-der-Profi\/!5694520\/\">schreibt<\/a> in der Taz \u00fcber Luc Besson&#8217;s &#8220;Der Profi&#8221;, und &#8211; \u00dcberraschung &#8211; in den letzten 26 Jahren hat sich vieles ge\u00e4ndert. Die &#8220;Kritik&#8221; is brav mit #Me too verhashtagt. Aber wirklich neues f\u00f6rdert Frau Heaming nicht hevor. Man wird das Gef\u00fchl nicht los das der Film jetzt irgendwie schlimm sein soll. Die Autorin endet mit:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Leute, diesen Film anschauen, einfach so: Das geht l\u00e4ngst nicht mehr.<\/p><\/blockquote>\n\n\n\n<p>Aha. Nun wissen wir das also. Also was machen? Umerziehen nach dem (versehentlichen) betrachten? Schwarze Balken? Schauspieler per KI ins der jetzigen Kultur entsprechenden Alter setzen? Das ganze Werk gleich in den Giftschrank. Neben Riefenstahl ist noch Platz. <\/p>\n\n\n\n<p>Das Problem dieser Kritik ist, das sie schreibt als g\u00e4be es irgendwo einen objektiven Ma\u00dfstab von dem was geht, und was nicht geht. Den gibt es nat\u00fcrlich auch: Wenn etwas Leiden verursacht dann ist es bedenkenswert. Sollte meistens vermieden werden.<\/p>\n\n\n\n<p>Ob nun jeder die Brutalit\u00e4ten dieses Films sehen mu\u00df ist vielleicht fraglich. Aber diesen Film jetzt pauschal via <span class=\"has-inline-color has-accent-color\">ist-me-too<\/span> zu verurteilen ist l\u00e4cherlich. Und eine Indikation der Zeit. In nochmal 26 Jahren wird diese Kritik selbst in der kritischen Betrachtung stehen. Der Film wird dann als Zeitzeugnis bewertet werden. Nicht mehr. Nicht weniger. Bis dahin gucke ich ihn dann einfach an. Einfach so.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Anne Haeming schreibt in der Taz \u00fcber Luc Besson&#8217;s &#8220;Der Profi&#8221;, und &#8211; \u00dcberraschung &#8211; in den letzten 26 Jahren hat sich vieles ge\u00e4ndert. Die &#8220;Kritik&#8221; is brav mit #Me too verhashtagt. Aber wirklich neues f\u00f6rdert Frau Heaming nicht hevor. Man wird das Gef\u00fchl nicht los das der Film jetzt irgendwie schlimm sein soll. Die [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,13],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Revisiting &#039;L\u00e9on: The Professional&#039; - When Cultural Shifts Reframe Cinema<\/title>\n<meta name=\"description\" content=\"Examining the evolving reception of Luc Besson&#039;s &#039;L\u00e9on&#039; through a modern lens. 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