Asta Nielsen Ausstellung & Retrospektive
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Film Architecture and the Transnational Imagination : Set Design in 1930S European Cinema 2007
Repositorium für die Medienwissenschaft Tim Bergfelder; Sue Harris; Sarah Street Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema 2007 https://doi.org/10.5117/9789053569801 Buch / book Empfohlene Zitierung / Suggested Citation: Bergfelder, Tim; Harris, Sue; Street, Sarah: Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053569801. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * 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. -
Transitional Cinema
transitional cinema slides they projected, the spoken word capable of Bibliography imposing a very different meaning on the image from the Balio, Tino (ed.) (1985), The American Film Industry. one that the producer may have intended. Many exhibitors Barnes, John (1976). The Beginnings of the Cinema in England. even added sound effects—horses’ hooves, revolver shots, Bordwell, David, Staiger, Janet, and Thompson, Kristin (1985), The and so forth—and spoken dialogue delivered by actors Classical Hollywood Cinema. Chanan, Michael (1980), The Dream that Kicks. standing behind the screen. Cherchi Usai, Paolo, and Codelli, Lorenzo (eds.) (1990), Before Cali- By the end of its first decade of existence, the cinema gari. had established itself as an interesting novelty, one dis- Cosandey, Roland, Gaudreault, Andre´, and Gunning, Tom (eds.) traction among many in the increasingly frenetic pace of (1992), Une invention du diable? twentieth-century life. Yet the fledgeling medium was still Elsaesser, Thomas (ed.) (1990), Early Cinema: Space, Frame, Narrative. very much dependent upon pre-existing media for its Fell, John L. (1983), Film before Griffith. formal conventions and story-telling devices, upon some- —— (1986), Film and the Narrative Tradition. what outmoded individually-driven production methods, Gunning, Tom (1986), ‘The Cinema of Attractions’. and upon pre-existing exhibition venues such as vau- Holman, Roger (ed.) (1982), Cinema 1900–1906: An Analytic Study. deville and fairs. In its next decade, however, the cinema Low, Rachael, and Manvell, Roger (1948), The History of the British Film, 1896–1906. took major steps toward becoming the mass medium of Musser, Charles (1990), The Emergence of Cinema. -
Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. -
Asta Nielsen
Asta Nielsen Also Known As: Asta Nielsen-Gad Lived: September 11, 1881 - May 24, 1972 Worked as: film actress, film company owner, producer, theatre actress Worked In: Denmark, Germany by Julie Allen Frequently lauded as “die Duse des Kinos” [the Duse of the cinema], as Poul Elsner noted in Weltrundschau in 1911 (517), the Danish actress Asta Nielsen was the first major star of German silent film. She acted in more than seventy films, all but four of them made with German production companies, during the twenty-two years of her film career. The phenomenal success of her debut film, Afgrunden/The Abyss (1910) enabled her to become the first global film star under the new monopoly distribution system. From 1910 to 1914, she collaborated closely with director Urban Gad, who was also her first husband, under the auspices of Deutsche Bioscop and Projektions-AG “Union” (PAGU), and later established two film companies of her own. Although she struggled to come to terms with the director-centric turn of the film industry in Germany in the 1920s that restricted the artistic autonomy she had enjoyed in the 1910s, she made several of her most artistically impressive films, including several Weimar street films, during this period. In 1932, she acted in her only sound film, Unmögliche Liebe/Impossible Love, which was also her final film, aside from two documentaries about her made decades later. Nielsen’s path to film was as unlikely as it was dramatic. She was born in Copenhagen in 1881, the second child of an impoverished working-class Danish couple, Jens Christian and Ida Frederikke Nielsen. -
`` Screening Asta Nielsen Films in Metz Before World War I ''
“ Screening Asta Nielsen Films in Metz before World War I ” Pierre Stotzky To cite this version: Pierre Stotzky. “ Screening Asta Nielsen Films in Metz before World War I ”. Martin Loiperdinger, Uli Jung (sous la direction de). Importing Asta Nielsen. The International Film Star in the Making, 1910–1914, John Libbey, p.113-122, 2013, KINtop. Studies in Early Cinema, 2, 978-0-861-96708-7. hal-01840896 HAL Id: hal-01840896 https://hal.archives-ouvertes.fr/hal-01840896 Submitted on 24 Jul 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Screening Asta Nielsen Films in Metz before the First World War Metz is located in the North Eastern French department of Moselle, which borders on Germany and Luxembourg. Between 1870 and 1918, Metz was a German city integrated to the German Reich along with the department of Moselle and the Alsace region. The city counted 68,000 inhabitants in 1914, half of them native French speakers, the other native German speakers. German was the teaching and administrative language, yet in 1914 one could still live in Metz without speaking a word of German. One fourth of the population in this garrison city were soldiers. -
Female Characters in Turkish German Cinematic Space: an Analysis with Examples of Three Recent Films
Female characters in Turkish German cinematic space: an analysis with examples of three recent films Michelle Robertson Bachelor of Arts (Hons) Macquarie University Department of International Studies, Faculty of Arts 20th December 2012 This thesis is presented for the degree of Doctor of Philosophy. Contents 1. Introduction 1 2. Immigration and multiculturalism in Germany 5 2.1 From ―kein Einwanderungsland‖ to the ‗Multi-Kulti-Gesellschaft‘ 5 2.2 Reassessing immigration and the nation: the path to citizenship in Germany 24 2.3 Everyday multiculturalism in Germany 36 3 Nation and gender in German cinema 61 3.1 Building the nation: depicting the German man and woman 61 3.2 Gendered nation and gendered immigration: a brief history of post-war German cinema 72 3.3 ‗Turkish-German cinema‘ and after: at home in transnational space 86 4. Analysing transnationalism in film: theoretical frameworks 120 4.1 Concepts of national cinema 120 4.2 Terminological considerations 130 4.3 Feminist perspectives and film analysis 143 4.4 Film selection 146 5. Film analyses 154 5.1 Head-On/Gegen die Wand (dir. Fatih Akın, 2004) 154 5.2 The Edge of Heaven/Auf der anderen Seite (dir. Fatih Akın, 2007) 180 5.3 When We Leave/Die Fremde (dir. Feo Aladağ, 2010) 202 6. Turkish-German female identities in transnational cinematic space 225 7. Conclusion 241 Bibliography 244 Filmography 260 ii Abstract This thesis shows how the female characters of recent ‗Turkish-German‘ films are situated in transnational, frequently transcultural space, in which they have greater self-determination and individuation compared to characters in earlier films. -
San Francisco Silent Film Festival
True art transcends time. SAN FRANCISCO SILENT FILM FESTIVAL JULY 18–21, 2013 CASTRO THEATRE SAN FRANCISCO SILENT FILM FESTIVAL elcome to our 18th summer festival. The San Francisco Silent Film Festival is a nonprofit organization dedicated to educating the public about silent film as an art form and as a cul- turally valuable historical record. Throughout the year, SFSFF produces events that showcase important titles from the silent era, often in restored or preserved prints, with live musical accompaniment by someW of the world’s finest practitioners of the art of putting music to film. Each presentation exemplifies the extraordinary quality that Academy Award-winning film historian Kevin Brownlow calls “live cinema.” Silent-era filmmakers produced masterpieces that can seem breathtakingly modern. In a remarkably short time after the birth of movies, filmmakers developed all the techniques that made cinema its own art form. The only technique that eluded them was the ability to marry sound to the film print, but these films were never meant to be viewed in silence and it is often obvious that music was a part of the production as well as the exhibition. The absence of recording on the set, though, meant that the camera was free to move with a grace and ele- gance that allowed visual storytell- ing to flourish and made film more than just an adjunct to the stage. It is through these films that the world first came to love movies and learned how to appreciate them as art. They have influenced every generation of filmmakers and con- tinue to inspire audiences nearly a century after they were made. -
ASTA: the TENTH MUSE January 26 - March 15
The Museum of Modern Art For Immediate Release January 1996 ASTA: THE TENTH MUSE January 26 - March 15 A retrospective of Europe's first international film star, Asta Nielsen (1881-1972), opens at The Museum of Modern Art on January 26. With her expressive versatility, Nielsen created an astonishing range of individualized portraits of unconventional women, creating an acting style in which sensuality is matched by a powerful impression of intelligence. The thirty- nine films featured in ASTA: THE TENTH MUSE showcase all of the legendary actress's extant films. The exhibition continues through March 15. Nielsen made more than seventy films between 1910 and 1932. Though her career emphasized passionate, dramatic roles, she also portrayed men and teenage girls with equal conviction in gender-bending, role-switching comedies. The influence of her hypnotic screen presence on a generation of silent screen actresses is particularly evidenced in the Soviet cinema. Greta Garbo, who worked with Nielsen in Die Freudlose Gasse (Joyless Street, 1925), later wrote, "she taught me everything I know." Among the highlights of the exhibition is Nielsen's screen debut Afgrunden (The Abyss, 1910) made in her native Denmark. The film's scandalous and still erotic dance scene, together with Nielsen's subtle, yet powerful characterization, was the catalyst that led to a film career in Berlin, which in turn quickly propelled her to international stardom. 11 West 53 Street, New York, NY. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 In many of her dramatic films including -- Die Suffragette {The Militant Suffragette, 1913), Nach dem Gesetz {According to the Law, 1919), Erdgeist (Lulu/Loulou, 1923), and Die Verraterin {The Traitress, 1911) -- Nielsen played strong, modern women full of initiative. -
New Findings and Perspectives Edited by Monica Dall’Asta, Victoria Duckett, Lucia Tralli Researching Women in Silent Cinema New Findings and Perspectives
in Silent Cinema New Findings and Perspectives edited by Monica Dall’Asta, Victoria Duckett, lucia Tralli RESEARCHING WOMEN IN SILENT CINEMA NEW FINDINGS AND PERSPECTIVES Edited by: Monica Dall’Asta Victoria Duckett Lucia Tralli Women and Screen Cultures Series editors: Monica Dall’Asta, Victoria Duckett ISSN 2283-6462 Women and Screen Cultures is a series of experimental digital books aimed to promote research and knowledge on the contribution of women to the cultural history of screen media. Published by the Department of the Arts at the University of Bologna, it is issued under the conditions of both open publishing and blind peer review. It will host collections, monographs, translations of open source archive materials, illustrated volumes, transcripts of conferences, and more. Proposals are welcomed for both disciplinary and multi-disciplinary contributions in the fields of film history and theory, television and media studies, visual studies, photography and new media. http://creativecommons.org/licenses/by-nc-nd/3.0/us/ # 1 Researching Women in Silent Cinema: New Findings and Perspectives Edited by: Monica Dall’Asta, Victoria Duckett, Lucia Tralli ISBN 9788898010103 2013. Published by the Department of Arts, University of Bologna in association with the Victorian College of the Arts, University of Melbourne and Women and Film History International Graphic design: Lucia Tralli Researching Women in Silent Cinema: New Findings and Perspectives Peer Review Statement This publication has been edited through a blind peer review process. Papers from the Sixth Women and the Silent Screen Conference (University of Bologna, 2010), a biennial event sponsored by Women and Film History International, were read by the editors and then submitted to at least one anonymous reviewer. -
Words and Stardom: Modernist Poetic Responses to Asta Nielsen
Words and Stardom: Modernist Poetic Responses to Asta Nielsen Karl Toepfer Words and Stardom: Modernist Poetic Responses to Asta Nielsen Vosuri Media Copyright 2021 by Karl Toepfer 2 Asta Nielsen in Den sorte Drøm (The Black Dream, 1911), directed by Urban Gad. Words and Stardom: Modernist Poetic Responses to Asta Nielsen Nielsen Asta Nielsen (1881-1971) was a great star of the European silent film and perhaps the first film performer to embody the idea of stardom. Born in Copenhagen in humble circumstances, she made her film debut in the Danish production of Afgrunden (The Abyss, 1910), a sensational erotic melodrama about theatre life that featured Nielsen performing a memorable “gaucho dance” while smoking a cigarette. Even at the time, critics and viewers perceived this production as a major contribution toward establishing film as an art, and Nielsen's “cinematic” performance received much of the credit for constructing the perception.1 The international success of Afgrunden was such that she made only two other films in Denmark, the excellent Den sorte Drøm (The Black Dream, 1911) and Mod Lyset (The Torchbearer, 1919). German film companies in Berlin and Frankfurt offered her far greater opportunities to display her artistry than Danish companies ever contemplated. Consequently, Asta Nielsen was a major star of the German cinema between 1910 and 1925. Some of her most distinctive films include: Der Tod in Sevilla (1913), Rausch (1919), Der Reigen (1920), Irrende Seelen (1921), Fräulein Julie (1922), Erdgeist (1923), Hedda Gabler (1925), Die freudlose Gasse (1925), and Dirnenträgodie (1927).2 She also played the title role in her own bizarre production of Hamlet (1920). -
BLOM Owner and Film Distributor Jean Desmet (1875-1956)
Since 1957, the Netherlands Film Museum in Amster- dam has been in possession of the Desmet Collec- tion, which contains the estate of the Dutch cinema IVO BLOM DUTCH FILM TRADE JEAN DESMET AND THE EARLY owner and film distributor Jean Desmet (1875-1956). FILM FILM The history of this strangely retiring ‘showman’ offers not simply an abstract of an individual character and CULTURE CULTURE his personal ambitions and motivations, but also IN TRANSITION IN TRANSITION epitomises the transformation of cinema into a dis- tinctively modern industry. Between 1907 and 1916, the world of cinema experienced radical structural change, which Desmet not only wit- nessed but also helped to bring about. Given the insufficiencies of Dutch film production, Desmet became a link between film production abroad and film exhibition in the Netherlands. In this original and wide-ranging study, Ivo Blom uses the career of Jean Desmet as a means of exploring the history of cinema from the ground-level perspective of film distribution and exhibition. His sociologically nuanced, co- piously illustrated and scrupulously documen- ted story of ‘Citizen Desmet’ swells into an epic narrative of early urban cinema culture. Ivo Blom (1960) is a lecturer in Film Studies at the Vrije Universiteit Amsterdam. JJEANEAN DESMETDESMET andand thethe ISBN 90-5356-463-2 EarlyEarly DutchDutch FilmFilm TradeTrade 9 789053 564632 ivo blom Amsterdam University Press AmsterdamAmsterdam UniversityUniversity PressPress WWW.AUP.NL Blom DEF 05-01-2004 12:24 Pagina 1 Jean Desmet and the Early -
Asta Nielsen
Asta Nielsen SPRACHE DER LIEBE. ASTA NIELSEN, IHRE FILME, IHR KINO 1910-1933 Filmretrospektive (26. April bis 9. Juni) KRISE UND AUFBRUCH. ASTA NIELSEN ALS PROTAGONISTIN DER MODERNE Internationales Symposion (26. bis 29. April) ASTA NIELSEN Ausstellung (24. April bis 16. September) Unter der Schirmherrschaft I. K. H. Prinzessin Benedikte zu Dänemark Zusammenfassung Mit der Retrospektive Sprache der Liebe. Asta Nielsen, ihre Filme, ihr Kino 1910-1933, dem Internationalen Symposion Krise und Aufbruch. Asta Nielsen als Protagonistin der Moderne und der Ausstellung Asta Nielsen widmen sich Frankfurter Kulturinstitutionen und ihre Kooperationspartner in bisher einzigartiger Weise der dänischen Schauspielerin (1881–1972), die als erster europäischer und internationaler Kinostar gilt. Trotz immenser filmgeschichtlicher Bedeutung gelangten ihre Werke über Jahrzehnte kaum mehr auf die Kinoleinwand. Diese Situation ändert sich: Internationale Festivals zeigen zunehmend von deutschen und internationalen Archiven restaurierte Filme. Alle 38 derzeit verfügbaren Filme zeigt nun die Frankfurter Retrospektive bis Juni 2007 – jeweils mit musikalischer Begleitung sowie mit zahlreichen Einführungen. Das Internationale Symposion des Instituts für TFM der J.W. Goethe Universität und der Kinothek Asta Nielsen beginnt mit einem Festvortrag von Heide Schlüpmann. Die Veranstaltung möchte eine neue Perspektive auf Asta Nielsen als Protagonistin einer Zeit von gesellschaftlichen Krisen und Umbrüchen setzen. Zur Eröffnung der Retrospektive im schauspielfrankfurt