All entries for Wednesday 27 September 2006
September 27, 2006
Nosferatu is going to be the first ‘real’ film to be screened on the course. It really is a great film. It’s right at the cutting edge of technology and it tried to develop visual and cinematic conventions which just didn’t catch on. Instead of using slow motion as an important visual effect it actually speeds things up!
The narrative itself is interesting, often cutting between two parallel apsects of the action. Of course the acting and the performance by Max Schreck is excellent, setting the benchmark for Draculas to come.
What tends to get missed when analysing this film is the way it seems to function as an allegory for the state of Germany at the time of its making. It is a film which is reflecting and contributing to a sense of xenophobia and also anti-semitic feeling in an interactionist way. It locks into sentiments being expressed by the far right about the ‘stab in the back theory’ of betrayal by enemies amongst ‘us’. It can also be read as critique of the French occupation of the Rhineland and a reflection of the national resistance to that occupation. This is certainly one of the elements we will be discussing.
Well if you’ve discovered this blog and got to this part its probably because of the images illustrating the course I’m constructiong for Open Studies starting this coming January. I’m going to explain in this entry and future ones why I’ve chosen these particular films and what I hope the course will help to achieve. Please feel free to comment. A fundamental part of the point of the course is to contribute to a better understanding of European culture in general through its fantastic cinematic history, its not just a course for the sake of it.
The Weimar and Nazi period of German history is enormously rich and controversial. Much of this can be seen in its film output. Some of the best known directors in the World ever, emerged within German cinema of the Weimar period. Fritz Lang, Billy Wilder, Murnau and Pabst and infamously Leni Reifenstahl were just some of the well known names.
In this course I’m keen to get away from the rather dominant popular perception of German films as all about Expressionsim. Of course it was fascinating and helped to create a powerful film industry second only to the USA in the 1920s.
Ironically one of the films we will be considering is _Metropolis _ which cost a huge amount of money and was designed to crack the American market through its development of spectacle. It flopped in the States and as a result an Americam company bailed out Ufa gaining a controlling interest and access to distribution rights throught the Ufa chain of premium cinemas. This weakness in the company allowed the arch nationalist media mogul Hugenberg to buy the American share and control the company. Unsurprisingly the Jewish Pommer was one of the first to suffer dismissal.
We are starting the course with a strange film called Double Headed Eagle. This film constructs a narrative of the Weimar period from 1918-1933 when Hitler takes power. It contains some fascinating archive footage including some of Eva Braun’s home movies. As with many things it does need to be judged on its absences as well. There is footage of Hitler campaigning in the countryside but no clear idea of how dreadful rural unemployment and poverty was from 1923 onwards. This really gave the Nazis a field day because of the twin speed economy that developed after the Dawes plan. The well off woman at the races is an image which could be used as part of the myth of the ‘golden years’ of the Weimar republic. I don’t want to be too hard on the film. I’ve just been searching the Web for images of rural unemployment in the Weimar during the 1920s drawing a blank. I did find this interesting site though of the German Historical Institute for those of a historical frame of mind. If anybody finds some good images of rural unemployment in the Weimar during the 1920s please wing me an email. The women at the races comes from the images and documents section of the GHI site by the way.
Double Headed Eagle is cinematically interesting nevertheless, because it eschews the ‘voice of god’ style of documentary we are all so used to and uses images combined with music to convey its ideas.
Next entry will be on Nosferatu probably the best of German expressionist cinema.