Renan De Andrade Varolli

Total Page:16

File Type:pdf, Size:1020Kb

Renan De Andrade Varolli UNIVERSIDADE FEDERAL DE SÃO PAULO ESCOLA DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 SÃO PAULO 2017 RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 Dissertação apresentada como requisito parcial para obtenção do título de Mestre em História da Arte Universidade Federal de São Paulo Programa de Pós-Graduação em História da Arte Linha de Pesquisa: Arte: Circulações e Transferências Orientação: Prof. Dr. Jens Michael Baumgarten SÃO PAULO 2017 Varolli, Renan de Andrade. O moderno na iluminação elétrica em Berlim nos anos 1920 / Renan de Andrade Varolli. São Paulo, 2017. 129 f. Dissertação (Mestrado em História da Arte) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós- Graduação em História da Arte, 2017. Orientação: Prof. Dr. Jens Michael Baumgarten. 1. Teoria da Arte. 2. História da Arte. 3. Teoria da Arquitetura. I. Prof. Dr. Jens Michael Baumgarten. II. O moderno na iluminação elétrica em Berlim nos anos 1920. RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 Dissertação apresentada como requisito parcial para obtenção do título de Mestre em História da Arte Universidade Federal de São Paulo Programa de Pós-Graduação em História da Arte Linha de Pesquisa: Arte: Circulações e Transferências Orientação: Prof. Dr. Jens Michael Baumgarten Aprovação: ____/____/________ Prof. Dr. Jens Michael Baumgarten Universidade Federal de São Paulo Prof. Dr. Luiz César Marques Filho Universidade Estadual de Campinas Profa. Dra. Yanet Aguilera Viruéz Franklin de Matos Universidade Federal de São Paulo AGRADECIMENTOS Agradeço às seguintes pessoas, que tornaram possível a realização deste trabalho: Aline, Ana Carolina, minha prima, Ana Paula, Bi, Carla, Daniel, Diana, Fá, Fê, Gabi, Gabriel, Giovanna, Jair, meu pai, Jane, minha tia e madrinha, Prof. Dr. Jens Baumgarten, meu orientador, Jú, Karina, Klency, Lucia, Maíra, Maria Antonia, minha mãe, Mônica, Philipe, Rafa, Talita, Vitor e Yhan. RESUMO Esta dissertação analisa a iluminação elétrica em Berlim nos anos 1920. O trabalho parte de objetos produzidos industrialmente para usufruto e circulação em massa, tais como edifícios, peças publicitárias e filmes, com o objetivo de compreender características da modernidade nessa metrópole nessa época. No decorrer do texto, abordam-se também tensões e conexões entre arte e indústria, relações que certas vezes acompanharam o moderno, o modernismo e a modernização, conceitos correlatos à modernidade. Em um cenário de contrastes e contradições existentes na capital da Alemanha no período de sua história conhecido como República de Weimar (1919-1923), tenta-se mostrar como a reavaliação teórico-historiográfica de programas artísticos e culturais tidos como decadentes pode ser sucedida por um progresso tecnológico. Palavras-chave: Berlim; iluminação; eletricidade; moderno; modernismo. ABSTRACT This thesis analyzes electric lighting in Berlin in 1920’s. The work starts from industrially produced objects for usufruct and circulation among the masses, such as buildings, advertising pieces and films, with the aim of understanding modernity’s features on this metropolis then. In the course of the text, it is approached as well tensions and connections between art and industry, relations that some times accompanied modern, modernism and modernization, correlative concepts of modernity. Having a background of contrasts and contradictions in Germany’s capital during the period of its history known as Weimar Republic (1919-1923), it is attempted to draw how theoretical-historiographic reappraisal of artistics and cultural programs regarded as decadent could be succeeded by technological progress. Keywords: Berlin; lighting; electricity; modern; modernism. LISTA DE ILUSTRAÇÕES Figuras 01, 02, 03, 04 e 05 – Quadros cinematográficos iniciais de Metrópolis. Imagens retiradas de: METRÓPOLIS (Metropolis). Diretor: Fritz Lang. Produtor: Erich Pommer. Berlim: Universum Film (UFA), 1927. 1 arquivo no formato AVI (149 min), mudo, p&b. Figuras 06, 07, 08 e 09 – Quadros cinematográficos de Babel em Metrópolis. Imagens retiradas de: METRÓPOLIS (Metropolis). Diretor: Fritz Lang. Produtor: Erich Pommer. Berlim: Universum Film (UFA), 1927. 1 arquivo no formato AVI (149 min), mudo, p&b. Figura 10 – Quarto Ato de Berlim, Sinfonia da Metrópole – Chapéu que vai rolando pela rua. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 11 – Quarto Ato de Berlim, Sinfonia da Metrópole – Um torvelinho que se forma levantando poeira do calçamento. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 12 – Quarto Ato de Berlim, Sinfonia da Metrópole – Trilhos de montanha-russa na vertigem da descida. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 13 – Quarto Ato de Berlim, Sinfonia da Metrópole – Remoinhos de água debaixo da ponte. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 14 – Quarto Ato de Berlim, Sinfonia da Metrópole – Semblante perturbado. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 15 – Quarto Ato de Berlim, Sinfonia da Metrópole – Olhar arregalado. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 16 – Quarto Ato de Berlim, Sinfonia da Metrópole – Transeuntes no gradil. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 17 – Quarto Ato de Berlim, Sinfonia da Metrópole – Palavra “dinheiro” saltando dos jornais. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 18 – MEIDNER, Ludwig. Eu e a Cidade (Ich und die Stadt). Óleo sobre tela. Coleção particular, 1913. Imagem retirada de: <https://i.pinimg.com/originals/c5/a1/85/c5a185c7653a0e0a7471a01c0e94dfeb.jpg>. Acesso em: 20 ago. 2017. Figura 19 – Letreiro de cinema no Quinto Ato de Berlim, Sinfonia da Metrópole. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 20 – Faróis de carros no Quinto Ato de Berlim, Sinfonia da Metrópole. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 21 – Cinema no Quinto Ato de Berlim, Sinfonia da Metrópole. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 22 – Rodopio de letreiro luminoso no final do Quinto Ato de Berlim, Sinfonia da Metrópole. Imagem retirada de: BERLIM, Sinfonia da Metrópole (Berlin: Die Sinfonie der Großstadt). Diretor: Walter Ruttmann. Produtor: Karl Freund. Berlim: Deutsche Vereins-Film e Les Productions Fox Europa, 1927. 1 arquivo no formato AVI (62 min), mudo, p&b. Cópia feita a partir de DVD produzido em Munique por Film & Kunst em 2008. Figura 23 –
Recommended publications
  • Film Film Film Film
    City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 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, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [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]
  • Sound: Eine Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.
    [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]
  • Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
    Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
    [Show full text]
  • Finding Aid for the Fritz Lang Collection
    Finding Aid for the Fritz Lang Collection Special Collections #4 Collection Processed by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg, 10.18.18 Finding Aid Written by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg,10.18.18 OVERVIEW OF THE COLLECTION: Origination/Creator: Lang, Fritz Title of Collection: Fritz Lang Collection Date of Collection: 1934 -- 1953 Physical Description: 19 boxes; 7.92 linear feet Identification: Special Collection #4 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Michael Nesmith in 1990. BIOGRAPHICAL/HISTORY NOTE: Fritz Lang was a noted filmmaker who immigrated to Hollywood via France during WWII in 1934, in protest against the Nazi regime, becoming a United States citizen in 1939. Lang was born Friedrich Christian Anton Lang in Vienna, Austria, on December 5, 1890 to parents Anton and Paula Lang. He briefly attended the Technical University of Vienna where he studied civil engineering before switching to art; he studied painting under teachers in Vienna, Munich, and Paris. In WWI Lang served in the Austrian Army where he was wounded three times and decorated four times while fighting in Russia and Romania. His German Expressionist films, including METROPOLIS (1927) and M (1931), are considered precursors to the film noir style of filmmaking that was popular in Hollywood from the early 1940s to late 1950s. Upon his move to the United States, Lang was employed at Metro- Goldwyn-Mayer Studios (M-G-M), where he rose to prominence by directing FURY (1936).
    [Show full text]
  • Lang, Fritz , 1890–1976, German-American Film Director, B
    Lang, Fritz , 1890–1976, German-American film director, b. Vienna. His silent and early sound films, such as Metropolis (1926), are marked by brilliant expressionist technique. He gained worldwide acclaim with M (1933), a study of a child molester and murderer. After directing 15 films, Lang fled Nazi Germany (1933) to avoid collaborating with the government and settled in the United States. His 20 Hollywood films continued his exploration of criminality and the cruel fate that can overtake the unwary. His notable American works include Fury (1936), You Only Live Once (1937), Hangmen Also Die (1943), The Big Heat (1953), and Beyond a Reasonable Doubt (1956). Born in Vienna, Austria, Fritz Lang’s father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten . After high school he enrolled briefly at the Technische Hochschule Wien, then started to train as a painter. From 1910 to 1914 he traveled in Europe and, he would later claim, also in Asia and North Africa. He studied painting in Paris in 1913-14. At the start of the First World War he returned to Vienna, enlisting in the army in January 1915. Severely injured in June 1916, he wrote some scenarios for films while convalescing. In early 1918 he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at UFA and then for Nero-Film, owned by the American Seymour Nebenzahl.
    [Show full text]
  • "Enhanced Filmography." Hitchcock's Appetites
    McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C.
    [Show full text]
  • Femme Fatale
    the cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir Petra Désirée Nolan Submitted in Total Fulfilment of the Requirements of the Degree of Doctor of Philosophy April 2004 The School of Art History, Cinema, Classics and Archaeology The University of Melbourne Abstract The hardboiled hero is recognised as a central trope in the film noir cycle, and particularly in the ‘classic’ noir texts produced in Hollywood in the 1940s. Like the films themselves, this protagonist has largely been understood as an allegorical embodiment of a bleak post-World War Two mood of anxiety and disillusionment. Theorists have consistently attributed his pessimism, alienation, paranoia and fatalism to the concurrent American cultural climate. With its themes of murder, illicit desire, betrayal, obsession and moral dissolution, the noir canon also proves conducive to psychoanalytic interpretation. By oedipalising the noir hero and the cinematic text in which he is embedded, this approach at best has produced exemplary noir criticism, but at worst a tendency to universalise his trajectory. This thesis proposes a complementary and newly historicised critical paradigm with which to interpret the noir hero. Such an exegesis encompasses a number of social, aesthetic, demographic and political forces reaching back to the nineteenth century. This will reveal the centrality of modernity in shaping the noir hero’s ontology. The noir hero will also be connected to the flâneur, a figure who embodied the changes of modernity and who emerged in the mid-nineteenth century as both an historical entity and a critical metaphor for the new subject. As a rehistoricised approach will reveal, this nineteenth century—or classic—flâneur provides a potent template for the noir hero.
    [Show full text]
  • American Daydream, European Nightmare – En Studie I Skillnader Mellan Amerikansk Och Europeisk Skräckfilm Under Stumfilmseran INNEHÅLLSFÖRTECKNING
    Växjö universitet FMC160 Institutionen för humaniora HT/2006 C-uppsats i filmvetenskap Handledare: Olof Hedling Maria Soneson American daydream, European nightmare – en studie i skillnader mellan amerikansk och europeisk skräckfilm under stumfilmseran INNEHÅLLSFÖRTECKNING Inledning............................................................................................................................ 3 Definition av skräckfilmen som genre............................................................................ 3 Frågeställning och ämnesval ........................................................................................... 4 Avgränsning...................................................................................................................... 4 Syfte ................................................................................................................................... 5 Metod................................................................................................................................. 5 Analys ................................................................................................................................ 6 Skräckfilmer producerade 1896 - 1918, kortfattad historik .......................................... 6 Skräckfilmerna 1919 - 1932.......................................................................................... 9 TYSKLAND............................................................................................................... 9 ÖVRIGA EUROPA................................................................................................
    [Show full text]
  • Ernst Lubitsch & the Transnational Twenties: the Student Prince in Old Heidelberg (USA 1927)
    UC Berkeley TRANSIT Title Ernst Lubitsch &amp; the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) Permalink https://escholarship.org/uc/item/6t02590p Journal TRANSIT, 10(2) Author McCormick, Rick Publication Date 2016 DOI 10.5070/T7102031166 Peer reviewed eScholarship.org Powered by the California Digital Library University of California McCormick: Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old… Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) TRANSIT vol. 10, no. 2 Rick McCormick The silent cinema was already transnational to a degree that would be difficult to maintain once film industries began to convert to sound cinema, and Ernst Lubitsch epitomized the transnationalism of the 1920s. His last two films in Germany were financed with American money; arriving in Hollywood at the end of 1922, he brought other German artists and technicians with him and sent for more over the course of the decade. Lubitsch used European—mostly Central European—plays and operettas as the basis of his American films, and he followed the German cinema closely in the 1920s, imitating technical innovations and popular genres, meanwhile publishing articles in the trade journals in Germany. In 1927 he made his first silent operetta film, which was also his first American film set in Germany: The Student Prince in Old Heidelberg, a film meant to compete with similar films being made in Germany. In discussing this film, I will demonstrate that it is not only transnational in terms of the movements mentioned above of artists, technicians, ideas, styles, and genres back and forth across the Atlantic, but also because of the ethnic, gender, and sexual politics of the film and its production itself.
    [Show full text]
  • Close-Up on the Photo Album of Woman in the Moon by Fritz Lang
    Close-up on the photo album of Woman in the Moon by Fritz Lang The album A film, some photos In 1929, the German director, Fritz Lang filmed Frau im Mond , Woman in the Moon . Against a background of amorous intrigue, the film recounts the fictional adventure of the first trip into space, with many special effects and sound scientific knowledge. The film, produced by Fritz Lang-Film GmbH, the director’s production company, was distributed by the UFA 1, one of the largest cinema companies of the 1920s. At the time, Fritz Lang was an internationally acclaimed director, honoured as a cinema master thanks to the success of Dr. Mabuse , as well as both Nibelungen and Metropolis . The welcome that Woman in the Moon received was, however, lukewarm. Although film critics applauded its technical virtues, they were critical –as for Metropolis – of its weak script. While talking films, which appeared two years earlier, were enjoying success which outshone silent films, Fritz Lang refused to add sound to Woman in the Moon . This was to be his last silent film, the last demonstration of his artistic work in the UFA studios. The legacy of this adventure is of course the film, but also a rare piece of work: the photo album of the set, donated by Fritz Lang to the Cinémathèque française in 1959. This 4-volume album, includes over 700 images. It recounts both the ploy of the film and the UFA’s filming methods; and presents Fritz Lang as a film director. It also demonstrates the importance of the movie set photographer, whose images constitute both works and documents for the history of the cinema.
    [Show full text]