DOCSLIB.ORG

* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1 www.ssoar.info Film architecture and the transnational imagination: set design in 1930s European cinema Bergfelder, Tim; Harris, Sue; Street, Sarah Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Bergfelder, T., Harris, S., & Street, S. (2007). Film architecture and the transnational imagination: set design in 1930s European cinema. (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-329611 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film and National Identity (2000). FILMFILM ARCHITECTUREARCHITECTURE ANDAND THETHE TRANSNATIONALTRANSNATIONAL IMAGINATIONIMAGINATION SETSET DESIGNDESIGN ININ 1930s1930s EUROPEANEUROPEAN CINEMACINEMA TIMTIM BERGFELDER BERGFELDER SUESUE HARRIS HARRIS 9 789053 569801 SARAHSARAH STREET STREET Amsterdam University Press Amsterdam University Press WWW.AUP.NL Film Architecture and the Transnational Imagination Film Architecture and the Transnational Imagination Set Design in 1930s European Cinema Tim Bergfelder Sue Harris Sarah Street Front cover illustration: F.P. antwortet nicht (). Still Courtesy of Film- museum Berlin/Deutsche Kinemathek Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) nur © Tim Bergfelder, Sue Harris, Sarah Street / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Acknowledgements 1 Introduction: Understanding and Interpreting Set Design in Cinema The Invisible Set Design, Film Narrative and Beyond Journeys into the Haptic: Film and Architecture Travelling to/through the Cinema of the s 2 European Set Design in the 1920s and 1930s: Cultural Contexts and Professional Practices Germany The Metaphysics of Décor: Kracauer and Eisner’s Legacy Eclecticism and Adaptability: Professional Backgrounds and Training Patterns among German Set Designers From Wagner to Reinhardt: Staging the Gesamtkunstwerk From Metaphysics to Studio Reality: Contexts, Strategies, and Practices of Set Design in German Cinema of the s and s Conceptions of Space and Narrative in Hollywood and Germany Approaches to Set Design in Weimar Film: Painting versus Architecture France New Agendas in French Design in the s Enter Lazare Meerson The Emigré Eye on France Production Contexts: The Transition to Sound in French Cinema Working Practices in French Studios in the s Set as Performance in French Cinema Great Britain Looking to the Continent: Design Practices in Britain Adapting the Concept of ‘Total Design’ for British Cinema 6 Film Architecture and the Transnational Imagination Professional Backgrounds and Expertise: The Rise of the ‘Architect- Designer’ in Britain Working Practices in Britain: Sketches, Designs and Drawings Designers in the Context of the British Studio System Conclusion 3 Imagining Space in Late Weimar Cinema Past, Future, and Present – The Changing Settings of Weimar Cinema The Composite City: Narrative and Set Design in Asphalt Angst: Lifestyle Design and Suburban Melodrama Underworld UK: Andrei Andreiev and the Imaginary London in Die Büchse der Pandora and Die -Groschenoper Stardom, Genre, and Space: Brigitte Helm in Die wunderbare Lüge der Nina Petrowna Instabilities of Genre and Space: Exotic Iconography in Die Herrin von Atlantis/The Mistress of Atlantis/L’Atlantide 4 French Cinema in the 1930s: Space, Place, and National Identity Paris and the Challenge to Popular Memory The Set as Star: Fantasies of Place and Space The Set and the Star: Josephine Baker on Screen Beyond France to Europe and the Colonies: Voyages of Discovery Journeys in Time: The Historic Film Build them High! The Project-Specific Set Conclusion 5 Set Design, Style, and Genre in 1930s British Cinema Designing the Past Tudor England: The Private Life of Henry VIII and Fire Over England Revolutionary France in The Scarlet Pimpernel and The Return of the Scarlet Pimpernel th Century Flanders in La Kermesse héroïque and Holland in Rembrandt Designing Russia in The Rise of Catherine the Great and Knight Without Armour Transforming the Restrictive Domestic Space in Knight Without Armour Contents 7 The Hyperbolic/Ornate Historical Interior Space: The Scarlet Empress and The Rise of Catherine the Great Conclusions on ‘Designing Russia’ Designing the Future Alfred Junge and Art Deco Conclusion Notes Bibliography Index of Film Titles Index of Names and Subjects Acknowledgements We would like to thank several people for their role in instigating and support- ing this project. First, the late Professor Jill Forbes, who obtained the initial grant for the project from the Arts and Humanities Research Council, inspired the initial investigation into studios and set design with unfailing enthusiasm and drive. Without her vision, enterprise and support this project would never have got off the ground; we are proud to have brought it to its conclusion and ded- icate this book to her memory. We thank Jill’s son Alex Nice and her partner Martin McKeand for allowing us access to her files and library. Ben McCann was researcher on the project in its early stages and we thank him for his enter- prise, enthusiasm and commitment. We are also grateful for the expertise and support of staff at the many ar- chives we have consulted in our researches, including Régis Robert, Valdo Kneubühler, and the staff of the Service des Archives and the Iconothèque at the Bibliothèque du Film in Paris; Steve Wilson, associate curator of Film at the Harry Ransom Humanities Research Centre in Austin, Texas; Annett Sawall, Wolfgang Theis, and Gerrit Thies at the Filmmuseum Berlin/Deutsche Kine- mathek (especially their support in locating and supplying images); Hans-Mi- chael Bock and the team of CineGraph (Hamburg); and the library staff at the British Film Institute, the Bibliothèque Nationale de France, and the Forum des Images, Paris; the latter granted Sue Harris the status of chercheur associé for the duration of the project. Horst Claus, Christian Cargnelli and Kelly Robinson provided invaluable assistance and advice. John Irving, son of set designer Laurence Irving, allowed us to examine his father’s drawings and private pa- pers which were important to the research on British designers. Various friends and colleagues provided accommodation and hospitality in Paris, including Will and Sarah McMorran, Laurent Debouverie and Muriel Lefèbvre, and Jo and Valérie Worrall. We are particularly grateful to Sue Simkin for her research assistance in archives in Paris and Austin. In Queen Mary, University of London, was the venue for our project- related conference, ‘Designs for Living’, which provided an excellent opportu- nity to discuss production design with colleagues from all over the world. We are grateful to Jill Evans and Laura Wykes for providing administrative assis- tance and to Eugene Doyen for generously assisting with technical matters. We have also benefited from presenting our ideas to the Screen Studies conference, Glasgow, to the annual gatherings of the Society for Cinema and Media Studies 10 Film Architecture
Load more

Recommended publications
  • The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23P.; Paper Presented at the Society Tor Cinema Studies Conference (New York City, April 1975)
    i t i DOCUMENT RESUME ED 105 527 CS 501 036 AUTHOR Berg, Charles M. TITLE The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23p.; Paper presented at the Society tor Cinema Studies Conference (New York City, April 1975) EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS *Audiovisual Communication; Communication (Thought Transfer); *Films; *Film Study; Higher Education; *History; *Sound Films; Visual Literacy ABSTRACT This paper traces the history of motion pictures from Thomas Edison's vision in 1887 of an instrument that recorded body movements to the development cf synchronized sound-motion films in the late 1920s. The first synchronized sound film was made and demonstrated by W. K. L. Dickson, an assistant to Edison, in 1889. The popular acceptance of silent films and their contents is traced. through the development of film narrative and the use of music in the early 1900s. The silent era is labeled as a consequence of technological and economic chance and this chance is made to account for the accelerated development of the medium's visual communicative capacities. The thirty year time lapse between the development of film and the -e of live human voices can therefore be regarded as the critical stimuli which pushed the motion picture into becoming an essentially visual medium in which the audial channel is subordinate to and supportive of the visual channel. The time lapse also aided the motion picture to become a medium of artistic potential and significance. (RB) U SOEPARTME NT OF HEALTH. COUCATION I. WELFARE e NATIONAL INSTITUTE OF 4 EOUCATION D, - 1'HA.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • Zeughauskino: Gretchen Und Germania
    GRETCHEN UND GERMANIA HOMMAGE AN HENNY PORTEN Wie kaum eine andere deutsche Schauspielerin hat Henny Porten (1890 – 1960) zwischen 1910 und 1933 das populäre Bild der Frau in Deutschland verkörpert und geprägt. Bewunderer hatte sie in allen Bevölkerungsschichten: Soldatenräte ließen sie in den November- kämpfen 1918 hochleben; Reichstagspräsident Ebert besuchte ihre Dreharbeiten; und bei ihren Filmpremieren erlebten die Innenstädte Massenaufläufe. Ironisch und ernsthaft augenzwinkernd schlug 1922 der Literat Kurt Pinthus im linksliberalen Tagebuch vor: »Man mache Henny Porten zum Reichspräsidenten! Hier ist eine Gestalt, die in Deutschland volkstümlicher ist als der alte Fritz, als der olym- pische Goethe es je waren und sein konnten... Hier ist eine schöne Frau, die als Vereinigung von Gretchen und Germania von diesem Volke selbst als Idealbild eben dieses Volkes aufgerichtet wurde«. Bereits seit 1906 war die junge Porten in Dutzenden von Tonbildern aufgetreten, in nachgestellten kurzen Opernszenen, zu denen im Kino der entsprechende Musikpart aus dem Grammophon erklang. Mit großen Posen und Affektdarstellungen eiferten die Darsteller dieser frühen, oft nur eine Minute langen Filme den bekannten Mimen der Hoftheater nach. Bekannte, zur Ikone geronnene Darstel- lungsklischees großer Gefühle nahm die junge Filmschauspielerin auf und formte daraus ein filmspezifisches Vokabular stummen Spiels, eindringlicher Gesten und Blicke. Portens Gebärdensprache betont die vereinzelte Geste und isoliert Bedeutung, die nur in Gip- felmomenten beschleunigt, ansonsten aber ausgespielt oder ver- langsamt wird. Portens häufig wiederkehrendes Darstellungsfeld – schicksalsschwe- rer Kampf und mit Demut getragenes Leid – wird während des Ers- ten Weltkriegs Realität vieler Frauen. Henny Porten, die ihren ersten Mann in diesem Krieg verlor, erschien in ihren Figuren wie in ihrem Starleben gerade in den 1910er Jahren als ein Spiegelbild der deut- Die Heimkehr des Odysseus GRETCHEN UND GERMANIA 31 GRETCHEN UND GERMANIA schen Frauenseele.
    [Show full text]
  • Dossier De Presse ECLAIR
    ECLAIR 1907 - 2007 du 6 au 25 juin 2007 Créés en 1907, les Studios Eclair ont constitué une des plus importantes compagnies de production du cinéma français des années 10. Des serials trépidants, des courts-métrages burlesques, d’étonnants films scientifiques y furent réalisés. Le développement de la société Eclair et le succès de leurs productions furent tels qu’ils implantèrent des filiales dans le monde, notamment aux Etats-Unis. Devenu une des principales industries techniques du cinéma français, Eclair reste un studio prisé pour le tournage de nombreux films. La rétrospective permettra de découvrir ou de redécouvrir tout un moment essentiel du cinéma français. En partenariat avec et Remerciements Les Archives Françaises du Film du CNC, Filmoteca Espa ňola, MoMA, National Film and Television Archive/BFI, Nederlands Filmmuseum, Library of Congress, La Cineteca del Friuli, Lobster films, Marc Sandberg, Les Films de la Pléiade, René Chateau, StudioCanal, Tamasa, TF1 International, Pathé. SOMMAIRE « Eclair, fleuron de l’industrie cinématographique française » p2-4 « 1907-2007 » par Marc Sandberg Autour des films : p5-6 SEANCE « LES FILMS D’A.-F. PARNALAND » Jeudi 7 juin 19h30 salle GF JOURNEE D’ETUDES ECLAIR Jeudi 14 juin, Entrée libre Programmation Eclair p7-18 Renseignements pratiques p19 La Kermesse héroïque de Jacques Feyder (1935) / Coll. CF, DR Contact presse Cinémathèque française Elodie Dufour - Tél. : 01 71 19 33 65 - [email protected] « Eclair, fleuron de l’industrie cinématographique française » « 1907-2007 » par Marc Sandberg Eclair, c’est l’histoire d’une remarquable ténacité industrielle innovante au service des films et de leurs auteurs, grâce à une double activité de studio et de laboratoire, s’enrichissant mutuellement depuis un siècle.
    [Show full text]
  • DES PFARRERS TÖCHTERLEIN - Ein Schlüsselfilm Für Die Karriere Von Henny Porten 2006
    Repositorium für die Medienwissenschaft Martin Loiperdinger DES PFARRERS TÖCHTERLEIN - ein Schlüsselfilm für die Karriere von Henny Porten 2006 https://doi.org/10.25969/mediarep/16048 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Loiperdinger, Martin: DES PFARRERS TÖCHTERLEIN - ein Schlüsselfilm für die Karriere von Henny Porten. In: Frank Kessler, Sabine Lenk, Martin Loiperdinger (Hg.): Quellen und Perspektiven / Sources and Perspectives. Frankfurt am Main: Stroemfeld/Roter Stern 2006 (KINtop. Jahrbuch zur Erforschung des frühen Films 14/15), S. 206– 220. DOI: https://doi.org/10.25969/mediarep/16048. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ ACHTUNG! Der letzte Bestelltag! 14. März 1913 Hen.nu Porten Des Pfarrers Töchterlein Ergrelfendu Drama In 2 .llktu Spieldauer 37 Jlll.ln. Pret. l!Ut. 950.- ReichhaltlgM Reklam•·••terial Ein Schlager wie alle PORTEN-Films! lVIESSTE~'s P~OJECTION f ,t BE~hIN S 61 Erste Internationale Film-Zeitung, 7. Jg., Nr. 10, 8.3.1913 206 MARTIN LOIPERDINGER DEs PFARRERS TöcHTERLEIN Ein Schlüsselfilm für die Karriere von Henny Porten Der von der Firma Messter produzierte, 37 Minuten dauernde Zweiakter DES PFARRERS TöcttTERLEIN hatte Ende März 1913 in Berlin Premiere. Sujet und Handlung dieses Melodrams sind rasch erzählt: Nach langer Abwesenheit kehrt Heinz Langer, der Sohn des alten Geheimrats, als schmucker Marineleutnant in sein Heimatdorf zurück.
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • Film Front Weimar’ 30-10-2002 14:10 Pagina 1
    * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3
    [Show full text]
  • 02Bodyetd.Pdf (193.2Kb)
    Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years.
    [Show full text]
  • Hotel Berlin
    HOTEL BERLIN: THE POLITICS OF COMMERCIAL HOSPITALITY IN THE GERMAN METROPOLIS, 1875–1945 by Adam Bisno A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December, 2017 © 2017 Adam Bisno ii Dissertation Advisor: Peter Jelavich Adam Bisno Hotel Berlin: The Politics of Commercial Hospitality in the German Metropolis, 1875–1945 Abstract This dissertation examines the institution of the grand hotel in Imperial, Weimar, and Nazi Berlin. It is a German cultural and business history of the fate of classical liberalism, which in practice treated human beings as rational, self-regulating subjects. The major shareholders in the corporations that owned the grand hotels, hotel managers, and hotel experts, through their daily efforts to keep the industry afloat amid the vicissitudes of modern German history, provide a vantage point from which to see the pathways from quotidian difficulties to political decisions, shedding light on how and why a multi-generational group of German businessmen embraced and then rejected liberal politics and culture in Germany. Treating the grand hotel as an institution and a space for the cultivation of liberal practices, the dissertation contributes to the recent body of work on liberal governance in the modern city by seeing the grand hotel as a field in which a dynamic, socially and culturally heterogeneous population tried and ultimately failed to determine the powers and parameters of liberal subjectivity. In locating the points at which liberal policies became impracticable, this dissertation also enters a conversation about the timing and causes of the crisis of German democracy.
    [Show full text]
  • ALEXANDRE TRAUNER ‹ Hotel Du Nord
    ALEXANDRE TRAUNER ‹ Hotel du Nord MISKOLCI GALÉRIA MISKOLC 2 0 08 VINTAGE GALÉRIA BUDAPEST 2 0 08 ‹ Hotel du Nord Alexandre Trauner ismeretlen fotói Trauner Sándor, a díszlettervezô: világhírû. Csak néhány cím: Ködös utak, Mire megvirrad, Szerelmek városa, Külvárosi szálloda, Az éjszaka kapui, Legénylakás, Szereti ön Brahmsot? Irma, te édes, Sherlock Holmes magánélete, Don Giovanni, Metró. Trauner Sándor, a festô: jól ismert. A budapesti Képzômûvészeti Fôiskolán Kepes Györggyel, Korniss Dezsôvel egy mûteremben dolgozott. Vizsgakiállításuk merészsége közbotránnyá dagadt. Generációjának nem egy tagjával együtt jobbnak látta máshol szerencsét próbálni. Így került Párizsba, a film közelébe. De a festészethez – még ha alkalmilag is – késôbb is ragaszkodott. De Trauner Sándor, a fotós: lényegében ismeretlen. A hagyatékban 2008-ban megtalált, a harmincas években készült vintage-kópiákat a Miskolci Galéria és a budapesti Vintage Galéria mutatja be elsôként. Trauner 23 éves volt, amikor Párizsba érkezett. Úgy tûnt, egyike lesz az olcsó mûtermekben fillérekbôl élô bohém mûvészeknek, akikkel ‹ tele volt a Montparnasse. Franciául nem tudott, a Dome kávéház volt a törzshelye, ahol sok magyar emigráns megfordult, s ahol mindig akadt valaki, aki fizessen egy kávét. Festô akart lenni, híres festô. Tíz évre rá ô az egyik legismertebb francia díszlettervezô a filmvilágban. Budapesten született, pontosabban a polgárosuló, metropolis-ambíciókat ápoló város szegényebb, síkvidéki, pesti oldalán. Apja nôi szabó volt. Munka után mindig kártyázott, partnerével azon veszekedve, melyikük játszik jobban és ki a jobb szabó közülük. Kártyapartnerének egyik fia késôbb Robert Capa néven vált ismertté. Nagyapja sok mindenbe belevágott. Gyárat alapított, járt Amerikában, kevés sikerrel. Trauner emlékeiben kedves idôs emberként élt, aki franciát tanított. A kaland és a „francia szál” itt bukkan föl elôször a történetben.
    [Show full text]
  • Titel Kino 2/2001(2 Alternativ)
    EXPORT-UNION OF GERMAN CINEMA 2/2001 ”MEDIUM OF ENTERTAINMENT & CULTURAL MESSENGER“ A message from the new Federal Government Commissioner for Cultural Affairs and the Media, Prof. Dr. Julian Nida-Rümelin GERMAN FILM PRIZE ... and the nominees are … GERMAN BOX OFFICE HIT ”THE EXPERIMENT“ by Oliver Hirschbiegel Kino Moritz Bleibtreu, in ”THE EXPERIMENT“ (photo © SENATOR Christian Berkel FILM) GERMAN CINEMA GERMAN FILMS at the official program of the Directors’ Fortnight Ecce Homo by Mirjam Kubescha World Sales please contact: Confine Film, Munich phone/fax +49-89-13 03 87 66 Directors’ Fortnight: ”Le Cinéma dans tous ses états“ The Films of the Fishes by Helma Sanders-Brahms World Sales please contact: Helma Sanders GmbH, Berlin phone/fax +49-30-2 15 83 44 Cannes Junior Eine Hand voll Gras A Handful of Grass by Roland Suso Richter World Sales: Bavaria Film International, Geiselgasteig phone +49-89-64 99 26 86 · fax +49-89-64 99 37 20 Critics’ Week: Short Film Competition Staplerfahrer Klaus – Der erste Arbeitstag Forklift Driver Klaus – The First Day on the Job by Jörg Wagner, Stefan Prehn World Sales: ShortFilmAgency Hamburg phone +49-40-3 91 06 30 · fax +49-40-39 10 63 20 Critics’ Week: FIPRESCI Discovery of the Year Die Innere Sicherheit The State I Am In by Christian Petzold World Sales: First Hand Films, CH-Bülach phone +41-1-8 62 21 06 · fax +41-1-8 62 21 46 CANNES FILM FESTIVAL Critics’ Week: Short Film Night Forever Flirt: Nijinsky at the Laundromat The Autograph Triumph of the Kiss by Percy Adlon World Sales please contact: Leora
    [Show full text]
  • Titel Kino 1/2003
    EXPORT-UNION OF GERMAN CINEMA 1/2003 AT BERLIN in Competition DER ALTE AFFE ANGST by Oskar Roehler GOOD BYE, LENIN! by Wolfgang Becker LICHTER by Hans-Christian Schmid RESISTANCE & PROVOCATION Directors’ Portraits of Helga Reidemeister & Rosa von Praunheim SHOOTING STAR Daniel Bruehl SPECIAL REPORT Children’s Film in Germany Kino (photo © Prokino) “ Distant Lights ” Zbigniew Zamachowski Zbigniew in GERMAN CINEMA KINO1/2003 4 focus on CHILDREN’S FILM IN GERMANY directors’ portraits 14 RESISTANCE IS THE ’SECRET OF JOY’... A portrait of Helga Reidemeister 15 THE IMPORTANCE OF BEING PROVOCATIVE A portrait of Rosa von Praunheim producer’s portrait 18 UBIQUITOUS IS HIS MIDDLE NAME A portrait of Peter Rommel Productions actor’s portrait 20 SHOOTING STAR A portrait of Daniel Bruehl 22 KINO news in production 26 BLINDGAENGER Bernd Sahling 26 FARLAND Michael Klier 27 HERR LEHMANN Leander Haussmann 28 HITLERS JUEDISCHE SOLDATEN Heike Mundzeck 28 LAUTLOS Mennan Yapo 29 NORTHERN STAR Felix Randau 30 PFARRER BRAUN Martin Gies 30 SCHATTEN DER ZEIT Florian Gallenberger 31 SCHUSSANGST Dito Tsintsadze 32 SECRETS OF SIBERIA Frank Mueller 32 SUPERTEX – EINE STUNDE IM PARADIES Jan Schuette 33 TAL DER AHNUNGSLOSEN Branwen Okpako the 100 most significant german films (part 8) 34 DER LETZTE MANN THE LAST LAUGH AT BERLIN F.W. MURNAU Friedrich Wilhelm Murnau RETROSPECTIVE 35 ROTATION Wolfgang Staudte 36 WIR WUNDERKINDER AREN’T WE WONDERFUL? Kurt Hoffmann 37 DAS WACHSFIGURENKABINETT WAXWORKS Paul Leni 38 MAEDCHEN IN UNIFORM GIRLS IN UNIFORM Leontine Sagan new german films 40 DER ALTE AFFE ANGST AT BERLIN ANGST IN COMPETITION Oskar Roehler 41 DEVOT AT BERLIN DEVOTED PANORAMA Igor Zaritzki 42 EPSTEINS NACHT EPSTEIN’S NIGHT Urs Egger 43 EROTIC TALES: NR.
    [Show full text]