Please. I used the word "technicolor" as a writing device to emphasize a point, not to suggest Riefenstahl's work was in color. Why don't you try to think bigger thoughts, instead of relying on your ambitious provincialism?
BTW, that Disney was the only one to meet with Riefenstahl is a popular agenda-centric myth.
Most interesting is the number of German emigres who settled in Hollywood through the help of networks. Hollywood mogul Carl Laemmle helped fellow Germans out during the Nazi era. By one researcher’s account, Laemmle provided at least 300 affidavits, documents that guaranteed that an applicant for a US visa would be employed in Hollywood (and not become a public charge).
This concentrated milieu of immigrants had an inordinate and profound influence on films for years to come.
In my opinion the investigation of this was at least part of the purpose of the HUAC investigation of Hollywood. Among the German emigres who came to the US and Hollywood during this period--amidst a far larger percentage of non-Communists, of course--were some important German CP and Comintern members and fellow travellers linked to Willi Munzenberg's propaganda fronts in Europe, notably Gerhart Eisler--a leader of the Comintern illegal underground apparatus in the US, in which capacity one of his jobs was obtaining fake passports for Communist agents--and his brother Hanns Eisler, along with Arnold Schoenberg, Bertholt Brecht, Lion Feuchtwanger, and Thomas and Heinrich Mann, to name a few of the most prominent that were of interest to the FBI and HUAC. This group of emigres started coming over around 1933; in 1934 Munzenberg joined them in the US; in 1935 the US Communist Party issued a directive to infiltrate the Hollywood labor unions and creative community. This Comintern/CP effort to infiltrate Hollywood bore on the Hollywood Ten investigation because during this period, in 1933 three of the Hollywood Ten--John Howard Lawson, Samuel Ornitz, and Lester Cole--cofounded the Screen Writers Guild, which Lawson initially presided over, and then in 1934, Lawson formally joined the Communist Party, which he had been travelling with for some time prior to this (likely dating back to World War I when he became close to John Dos Passos, one of the most prominent literary fellow travellers of the 1920s, who later turned anti-Stalinist in the mid-30s). Another of the Hollywood Ten, Edward Dmytryk, when he eventually agreed to testify to HUAC, alleged, "John Howard Lawson settled all questions. If there was a switch in the Party line, he explained it. If there were any decisions to be made, they went to John Howard Lawson. If there was any conflict within the Communist Party, he was the one who settled it." The HUAC investigation of Lawson and his associates seems to have overlapped with the investigation of the Comintern's influence among German emigres to Hollywood. IMO both these investigations also overlapped with investigations of Communist intellectuals' influence in the Works Progress Administration's Federal Writers' Project and Federal Theatre Project and the wartime propaganda operations of the Office of War Information/Office of Strategic Services, the latter which stood in the background of the Amerasia spy case. I think HUAC was partly investigating the Hollywood Ten as part of a broader investigation of these other matters.