All 5 entries tagged Pabst
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November 16, 2006
This will take the form of a conventional bibliography dealing with not just the cinema of the Weimar and Nazi periods but providing some titles for general history and cultural history of the Weimar and Nazi Period. Where relevant good quality articles are discovered on the web they will be hyperlinked for your convenience. These hyperlinked articles are categorised in a separate section with standard bibliography being place d below this. Please suggest any hyperlinks or additions in the comments box.Thanks.
Baackmann Susanne: Review of Carter et al. German Cinema Book. In Seminar journal of Germanic Studies July 2006
Baranowsky, Shelley.2004. Strength Through Joy Cambridge: CUP
Bruns, Jana. Review of Anja Aschied Hitler’s Heroines: Stardom and Womanhood in Nazi Cinema H-German October 2003.
Conboy, Martin. The Discourse of Location: Realigning the Popular in German Cinema. European Journal of Communications. Sage. 1999 vol 14.3
Dassanowsky, Robert von. Review of: Hake, Sabina German National Cinema. London and New York: Routledge, 2002. 232pp. ISBN 0-41508-902-6
Horak Jan-Christopher. Review of Guerin, Francis. A Culture of Light. Cinema and technology in 1920s Germany. Minneapolis, University of Minnesota Press, 2005. ISBN: 0 8166 4286 9. In Screening the Past March 2006
Horak Jan-Christopher Film history and film preservation: reconstructing the text of The Joyless Street (1925)
Lee, Jennifer.Selling the Nazi Dream: Advertisement of the Musical Comedy Film in the Third Reich MA Candidate University of Victoria. Supervisor, Dr. Thomas Saunders
Malone Paul M. Negotiating Modernity in Weimar Film Theory. Film Philosophy, Volume 3 Number 37, September 1999ISSN 1466-4615
Author: Mennel, Barbara. Publication Date: 22-MAR-04 The New Paradigms of German Film Studies Review)
“Nowell-Smith, Geoffrey. “Re-imagining German Film History. Film-Philosophy Journal | Salon | Portal (ISSN 1466-4615) Vol. 5 No. 43, December 2001
Reading, Anna. “Scarlet Lips in Belsen:culture gender an ethnicity in the policies of the Holocaust”. Media Culture and Society 21.4. Sage.
Rosenthal, Alan. Review of Reeves Nicholas. 1999 The Power of Film Propaganda: Myth or Reality. London: Cassell. ‘Film Quarterly’, Vol. 55, No. 2 (Winter, 2001-2002), pp. 67-69
Seçil Deren: “Cinema and Film Industry in Weimar Republic, 1918-1933” from The Cradle of Modernity: Politics and Art in Weimar Republic (1918-1933), unpublished MSc thesis submitted to the Graduate School of Social Sciences of the Middle East Technical University, Ankara, 1997, pp. 129-163.
Spector, Scott. “Was the Third Reich Movie-Made?
Interdisciplinarity and the Reframing of “Ideology” ” American Historical Review. Vol 106 No 2. April 2001.
Tegel, Susan.The politics of censorship: Britain’s ‘Jew Suss’ in London, New York and Vienna -1934. Historical Journal of Film Radio and Television 1995
von Papen, Manuela. Opportunities and Limitations: New Woman in Third Reich Cinema. Women’s History Review Vol 8 No 4 1999.
Paris, Michael. Review of Carter Erica.2004. Dietrich’s Ghosts:The Sublime and the Beautiful in Third Reich Film London: BFI. Scope No 6, October 2006.
When Biology Became Destiny. This is a PDF download of a discussion with authors of this groundbreaking book 25 years on.
This is a useful internet ‘Gateway’ link to the search term European Cinema. It includes several useful sites on German cinema.
Another useful gateway into German cinema is the Wilhelm-Murnau-Stiftung
A fine recent list of resources and bibliography including websites is contained in Bergfelder Tim, Carter Erica and Goturk Deniz. Eds. 2002. The German Cinema Book. London. British Film Institute. This is a first port of call for those interested in a serious follow up to the course.
Bergfelder Tim, Carter Erica and Goturk Deniz. 2002. ‘Introduction’. Bergfelder Tim, Carter Erica and Goturk Deniz. 2002. The German Cinema Book. London. British Film Institute
Bergfelder Tim, Carter Erica and Goturk Deniz. Eds. 2002. The German Cinema Book. London. British Film Institute
Burleigh, Michael. 2000. The Third Reich a New History. London: Macmillan
Cook Pam Ed. 1985. The Cinema Book. British Film Institute : London : ISBN 0-85170-144-2
Downing, Taylor.Olympia. London: BFI
Eisner, Lotte H. 1969. The Haunted Screen. London: Thames and Hudson
Elsaesser Thomas: 1996.Germany : The Weimar Years : Nowell-Smith Geoffrey Ed : Oxford History of World Cinema : OUP : Oxford. ISBN 0-19-874242-8
Elsaesser, Thomas. _ Metropolis_. London: BFI
Elsaesser, Thomas. 2000. Weimar Cinema and After. London: Routledge
Evans, Richard. 2003.The Coming of the Third Reich. Harmondsworth: Viking / Penguin
Faletti Heidi. 2000. “Reflections of Weimar Cinema in the Nazi Propaganda films SA-Mann Brand, Hitlerjunge Quex, and Hans Westmar” in Reimer, Robert C. 2000. Cultural History Through a National Socialist Lens. New York: Camden House
Gunning, Tom. 2000. The Films of Fritz Lang. London: BFI
Hake , Sabine. 2002. German National Cinema. London : Routledge
Hake, Sabine. 2001. Popular Cinema of the Third Reich. Austin: University of Texas Press
Hake, Sabine. 1997. ‘The melodramatic imagination of Detlef Sierck: Final Chord and its reonances’. Screen 38.2 Summer 1997 pp 129-148
Horak, Jan Christopher. 2002. ‘German Film Comedy’. Bergfelder Tim, Carter Erica and Goturk Deniz eds. The German Cinema Book. London: British Film Institute
Jung Uli and Schatzberg Walter.1999. _Beyond Caligari: The Films of Robert Wiene _ . Oxford : Berghan Books. ISBN 1-57181-196-6
Kaes. Anton. 2000. M . London : BFI
Kaes Anton: 1996 : The New German Cinema : Nowell-Smith Geoffrey Ed : Oxford History of World Cinema : OUP : Oxford : ISBN 0-19-874242-8
Kaes, Anton. 2004. Weimar Cinema: The Predicament of Modernity. In Ezra, Elizabeth. Ed . European Cinema. Oxford: Oxford University Press
Kershaw, Ian. 1993 (3rd Ed).The Nazi Dictatorship: Problems and Perspectives of Interpretation. London: Edward Arnold
Kracauer, Siegfried. 2004 re. From Caligari to Hitler. Princeton: Princeton University Press
Leiser Erwin : 1974. Nazi Cinema . Secker and Warburg : London
McGilligan Patrick: 1997 : Fritz Lang : Faber : London: ISBN 0-571-19175-4
Moltke von, Johannes. 2002 ‘Evergreens: The Heimat Genre.’ Bergfelder Tim, Carter Erica and Goturk Deniz eds. The German Cinema Book. London: British Film Institute
Murray, Bruce. Film and the German Left . Austin Texas: University of Texas Press , 1990
O’Brien, Mary-Elizabeth. Nazi Cinema as Enchantment. New York: Camden House
Petley, Julien. Capital and Culture: German Cinema 1933-45. London. BFI, 1979
Petley, Julian. ‘Film Policy in the Third Reich’. Bergfelder Tim, Carter Erica and Goturk Deniz eds. 2002. The German Cinema Book. London: British Film Institute
Prawer, S.S. 2002. The Blue Angel. London: BFI
Reimer, Robert C. 2000. Cultural History Through a National Socialist Lens. New York: Camden House
Reimer, Robert C, Zachau Reinhard. 2005. German Culture Through Film. Newburyport MA: Focus
Rentschler, Eric. 1996. ‘Germany : Nazism and After’. Nowell-Smith Geoffrey Ed. Oxford History of World Cinema. Oxford: OUP
Rentschler, Eric. 1996. The Ministry of Illusion. Cambridge Mass: Harvard
Rosenbaum, Jonathan. Greed. London, BFI
Rother, Rainer. 2002. Leni Riefenstahl: the Seduction of Genius. London: Continuum
Saunders, Thomas. J.1994. From Berlin to Hollywood: American Cinema and Weimar Germany. Berkeley: University of California Press
Saunders, Thomas. J. 1999. ‘Germany and Film Europe’. In Higson, Andrew and Maltby Richard. eds. 1999. Film Europe and Film America. Exeter: Exeter University Press
Taylor, Richard. (1998 Re). Film Propaganda. London: I. B. Tauris
Welch, David. 2002 (2nd ed). The Third Reich Politics and Propaganda .London: Routledge
There is no point at all in ‘re-inventing’ what is already very good. Rather than laboriously re-enter data this filmography will hyperlink to entries already available on the excellent resource at Deutsche Film Portal and also filmographies from other courses accessible via the web. Regarding the Deutsche Film Portal it should be noted that while many of the pages are translated into English understandably the best material is only available in German. Presumably translation is an ongoing project. competent people may wish to volunteer their services. If this is done through a course then this could count as course credits.
Many films are held in university collections and other specialist collections. Where the content of these collections can be downloaded a hyperlinked reference has been been added to the resources section. If anybody comes across a useful URL please put it in the commentary box. Thanks.
This filmography will organise its links to types of personnel involved in the industry. It will start with directors and then proceed to actors, producers camera people, designers, costume designers.
Filmographies used on various courses
Please bear in mind that these will not be complete filmographies but represent the specific perspectives which course organisers will be seeking to develop.
Connections to collections of films made under the Nazi Regime 1933-1945
Northwestern University USA
October 02, 2006
I chose to cover The Threepenny Opera for a number of reasons. The direction was by G. W. Pabst
who directed Pandora’s Box which comes earlier in the course. This helps to build up the knowledge profile of a particular director.
The film was made at a politically interesting time in 1931 when the economic depression was still deepening nearly two years after it had started. Political polarisations were deepening along with the depression. The cinematography was done by Fritz Otto Wagner. There is a brief profile of him below. Wagner was the cinematographer on two of the classic films of the period that are covered in the course. His abilities clearly show that this was no coincidence.
The musical score was written by Kurt Weill and the adaptation was from a play by Brecht. Brecht felt that the handlng of the film destroyed the political and aesthetic modes of his play and took out a law suit against the producers.
Cabaret singer Lotte Lenya appears in what seems to be her only screen role.
Those should be reasons enough :-).
Fritz Arno Wagner
One of the best and most experienced cinematographers in the Weimar period. He stayed within the industry during the Nazi period. Wagner had worked with Pabst before as director of photography on Westfront 1918. Wagner worked on many important films of the Weimar period including Murnau’s Nosferatu, Fritz Lang’s M, Spione (1927 / 28) and the earlier der mude Tod (1921) and even on Lubitsch’s 1919 classic Madam Dubarry (1919). For a full list of credits go to Deutsch Film Portal
Useful link at the Senses of Cinema Site
Another link to Threepenny Opera
Recently film critics and historians such as Thomas Elsaesser , Pam Cook and Sabine Hake have laid down a strong challenge to the way in which cinema of the Weimar years has been represented as one of the ‘golden-ages’ of world cinema. Canonical films of the period are usually cited as:The Cabinet of Dr. Caligari (Robert Wiene, 1919), The Golem (Paul Wegener, 1920), Destiny , (Fritz Lang, 1921), Nosferatu (F. W. Murnau, 1921), Dr. Mabuse, (Fritz Lang, 1922 ), The Last Laugh, (F. W. Murnau, 1924), Metropolis _( Fritz Lang, 1925 ) _Pandora’s Box (G. W. Pabst, 1928). They have an importance which is within the canon of cinematic achievements but there is a cult mythology attached which has grown up around these films in which they are parodied, subjected to pastiche and recycled in post-modern video clip style as Elsaesser points out.
As a counter to the spectacular, psychologically inflected and highly subjective expressionistic film the Neue Sachlichkeit (New Objectivity) film developed. It was an outreach of the New Objectivity artistic current running through Weimar cultural output at this time. This period is mainly associated with what are sometimes erroneously described as the ‘Golden Years’ of the Weimar Republic. This period lasted from 1924 after the Dawes Plan was instituted and lasted until 1929 and the dramatic economic collapse triggered by the Great Depression’ in the autumn of that year.
The late Weimar period coincided with the coming of sound and the concentration upon Hollywood style genre cinema. More or less concurrently with the coming of sound was the massive economic depression which hit Germany following the collapse of the US stock market.
This depression deepened until late 1932. Ironically although the first signs of an economic upturn could be discerned, Hitler became Chancellor at the end of January 1933. This depression period saw the production of socialistic films such as Kuhle Wampe and The Threepenny Opera. The former was scripted by Brecht and the latter came from his reworking of John Gay’s highlty satirical ‘The Beggar’s Opera’ and both involved elements of epic theatre. The production of the latter disappointed Brecht and he started a law suit against Nero-Film who were the producers. For Brecht the intended political message had been de-politicised.
Many of the canonical films form the core of cinematic output which is described as a film movement called ‘ Expressionism’. The term Expressionism with a capital ‘E’ comes originally from painting and theatre. It is extremely stylised in terms of its mise-en-scene; in other words the settings, camera angles and lighting. The lighting is strongly chiaroscuro (sharply contrasting areas of light and shade), and the settings strongly distorted version of reality as usually experienced.
The acting is highly stylised and the subject matter is macabre and or concerning ‘lowlife’ issues. Frequently analyses of these films have concentrated upon the idea the films of a nation reflect its ‘mentality’. This type of criticism or commentary often ignores the conditions of industrial production and slips towards notions of the auteur. As Cook points out Siegfried Kracauer, whose work ‘From Caligari to Hitler’ was to provide a benchmark of criticism for these films did start out from commenting on the industrial situation.
“… the German film industry was of course anxious to experiment in the field of artistic achievements “ Since in those early days the conviction prevailed that foreign markets could only be conquered by aesthetically qualified entertainment. Art ensured export, and export meant Salvation.”
Sabine Hake notes the gradual historical revision which has been taking place within academic writings about German cinema of this period. This writing has risen to challenge Kracauer’s analysis arguing that it is a psychologically teleological construction of German society. Teleology states the Penguin Dictionary of Sociology is “The attempt to explain social processes of social change by reference to an end-state to which they are alleged to be working, or to an ultimate function which they are said to serve”. (Penguin Dictionary of Sociology 4th Edition).
It is argued that Kracauer implies a situation of direct cause and effect between film and society and that the state of German society can be ‘read off from the films’. One critical task for course members will be to evaluate Kracauer’s work in the light of these arguments measured against their own readings of the films.
The other seminal contemporary critical work of this period comes from Lotte Eisner who identifies expressionist films as strongly romanticist and therefore deeply anti-modernist as well as being very ‘German’ foregrounding problems of identity as well as metaphysical aspects of space. Below Bocklin’s Tomb by Ferdinand Keller.
This is an argument which leads into concerns about the ideology of the sublime. There is a danger in Eisner’s approach that there is an underlying essentialism related to ‘national characteristics’ which divorces these characteristics from culural, social and economic circumstances. One possible task for the course team will be to explore the links with anti-modernism and romanticism more closely. The Old National Gallery in the Berlin State Museum is a useful site to visit where I obtained an image of. Bocklin’s Ilse of the Dead
As the introduction to the recent edition of Kracauer’s book makes clear, he was working under limited conditions and at the time had to focus upon a narrower range of films than perhaps he would have liked. It is also the case that he was being funded to search for explanations of Nazism.
Not all the films mentioned above were made in the Expressionist mould. Hake describes Murnau’s output as ‘poetic realist’ a movement usually associated with French directors like Renoir, during the mid to late 1930s. It has been suggested that the films of F.W. Murnau acted as a form of bridge between the Expressionist movement and Neue Sachlichkeit suggest Martin Brady and Helen Hughes . These seemingly diametrically opposed cultural influences are clearly present within Metropolis as Andreas Huyssen has noted.
A recent book Expressionist Film New Perspectives
The origins of Neue Sachlichkeit emerged in 1924. It erupted out of the left-opposition within the Expressionist-utopian Novembergruppe. This group was called the Red Group associated with what is frequently known as ‘Verism’. Painters associated with the ‘verists’ were Otto Dix and George Grosz & Max Beckmann. They were highly critical and used satire to attack the evils of post-war Weimar German society exposing the devastating effects of World War I and the consequent economic climate upon individuals.
A second term, ‘Magic Realists’, has been applied to diverse artists associated with Neue Sachlichkeit, including Heinrich Maria Davringhausen, Alexander Kanoldt, Christian Schad, and Georg Schrimpf.
These works are usually taken as opposing the aggressive subjectivity of German Expressionist art but avoiding political criticism. Some of the work by Schad was close to being pornographic. Unlike many of the artists from the Neue Sachlichkeit movement, who had their works displayed in the infamous degenerate art exhibition, Shad’s works were apparently celebrated by the Nazis.
The movement thus incorporated a range of political commitments and techniques whilst marking a shift in representational values. Art historion Paul Wood points out that Otto Dix, although critically aligned with the left, moved away from the subjects of war and marginalisation in an expressionist mode to a ‘meticulous even obsessive painting technique …...he applied successive layers and then erased all marks of manufacture. In doing this he was directly refusing the discredited subjectivity of Expressionism.’
Otto Dix describes his attitude to Neue Sachlichkeit: ‘For me the object is primary and determines the form. I have therefore felt it vital to get as close as possible to the thing I see. ‘What’ matters more to me than ‘How’. Indeed ‘how’ arises from ‘What’. Above the more non-political aspect of Neue Sachlichkeit whilst below there is a political edge. These differing approaches to ‘realism’ open up a vast and important area of aesthetics which cross-cut the left intelligentsia within Germany, with Brecht, Adorno, Benjamin, Bloch and Lukacs engaged in intense debate. These concerns are beyond the scope of this review.
How far New Objectivity was an acceptance of the status quo derived from a ‘detached enchantment’ is open to challenge. Here it is useful to note the comments of the painter and artist George Grosz who strongly defended himself against what he described as the ‘Hurrah Bolshevism’ which wanted to see the proletariat presented as ‘always neatly brushed and combed in the old hero’s dress ’. Seeking to represent the conditions of the working classes as accurately as possible, Grosz derided the ‘false idealisation of the propaganda,’ which was emanating from the German Communist Party (KPD) of the time. This was the time socialist realism was becoming the dominant aesthetic form in Soviet Russia.
Paul Wood argues that paradoxically, that the more ‘realistic’ the art the more its social criticism appeared to be blunted. Rather than a social strategy ‘it represented an attitude of alienation from the actual lived reality’. It is in this sense that_ Neue Sachlichkeit_ can be seen as representing the truth underlying the superficial aspects of reality. The alienation represented within it can be seen as a critique of the contentment and new consumerist values of the stabilised German society through the hyper-realism which generated a sense of ‘unreality’ Wood emphasises. Wood also notes that Neue Sachlichkeit became strongly associated with photography. In the field of left wing aesthetics we find that for Brecht and Benjamin the pretence of documentary photography to represent reality needed to be undone through montage such as the work of John Heartfield compared with the photography of August Sander below.
The film director most associated with New Objectivity or Neue Sachlichkeit and its celebration of technological progress is Georg Wilhelm Pabst. Hake suggests that New Objectivity also accepted the status quo in society. [This is an issue which can be researched in more depth on the course.] Pabst’s works deal with a range of social problems such as; prostitution, labour disputes, inflation and marital problems, as well as revolutionary politics argues Hake: ‘Significantly the same principle of detached enchantment guides the visual representation of women, interiors, and the objects of everyday life. Yet the realism that distinguishes Pabst’s approach to camerawork and mise-en-scene also accommodates more voyeuristic and fetishistic scenarios.’ Bearing the last part of this comment in mind it may be useful to compare Pabst’s voyeurism with the work of people like Schad. Below images from Pabst’s Joyless Streets & Pandora’s Box.
Hake sums up the contribution of Pabst as one who was committed to the progressive spirit of the stabilisation period. But through striving for technical perfectionism Pabst favoured the beauty of appearances through the creation of surface effects: ’Pabst during the Weimar period contributed to the new style of objectivity and factuality that was both provocatively materialist and profoundly consumerist in orientation.’
Hake’s emphasis ssems very different to Bergfelder and Carter who note Pabst’s independent productions in the last years of the Weimar republic including Westfront 1918 (Western Front, 1930), Kameradschaft (Comradeship, 1930), _Dreigroschenoper _(The Threepenny Opera, 1931).
Certainly at this stage Pabst seemed to be clearly antiwar. Given Brecht’s disappointment with The Threepenyy Opera this is a film which is worthy of a special case study and will be another possible task for the course team.
Pabst’s Die Freudlose Gasse (The Joyless Street, 1925), whilst depicting the bad conditions of the working class had been criticised for a depoliticised individualism from the left. For the left it was deemed as a ‘pessimistic’ film. Whilst Hake notes an eroticism of the filmic image in Pabst’s Pandora’s Box (1929), Bergfelder notes the presence of the Jack the Ripper character in both Pandora’s Box and as ‘Mack the Knife’ in The Threepenny Opera seeing the Ripper as representing male insecurities ‘ that seems to suggest a German masculinity torn apart by the social and psychological legacies of world War 1’.
Bergfelder also notes the representations of misogynist aggression in the paintings of Dix and Grosz and in that sense the concern with crime can be seen as a representation of the chaos under the surface of contemporary Germany. Perhaps re-reading the films of Pabst through the ironic lens of the hyper-real, reveals Pabst to be more critically concerned with the mechanisms of capitalism than Hake allows. Yet Pabst chose to remain behind to work under the Nazi cinematic regime perhaps it was Hitler’s populism which seduced him perhaps it was an offer he couldn’t refuse. The reason is still an enigma today. It is a tension which will be explored during the course and through this space.
September 28, 2006
This section is currently under construction. I’ve started it a little prematurely because I’ve just come across an interesting podcast . The podcast is courtesy of Moviemail. It is a comparison othe erotic charges present in Pabst’s Pandora’s Box and Visconti’s Ossessione. Those who were on the Italian cinema courses will remember the latter.
Here is a link to a useful PDF article on Pandora’s Box by Mary Anne Doane.