Soldatenlieder 2. weltkrieg5/2/2023 The examples he gives all come from contemporary literature. Geisler indicates that in later reviews and accounts of the film, one could always read the term 'documentary'. An extraterritorial cinema (New Brunswick, London 1990) 97. Kossowsky, Das Kulturfilmbuch (Berlin 1924).ħ Michael Geisler, 'The battleground of modernity Westfront 1918 (1930)', in Erich Rentschler (ed.), The films ofG.W. See also: Siegfried Kracauer, From Caligari to Hitler. I only came across the term 'Kulturfilm' once in connection with war 'documentaries'. I believe, however, that the term Kulturfilm is mostly associated with the non-feature shorter film, although there are of course clear exceptions. German cinema 18951920 / Prima di Caligari. In his article 'The Kulturfilm: a brief history of an early discursive practice', William Uricchio writes: 'Thus, terms such as Unterrichtsfilm, Lehrfilm, Industriefilm, Forschungsfilm, Populärwissenschaftlicher Film, Dokumentarfilm, and even Werbefilm and Propagandafilm, all make historical claim to inclusion within the overarching Kulturfilm', in Paolo Cherchi Usai & Lorenz Codelli (ed.), Before Caligari. ![]() The eyewitnesses that are now asked to tell their stories may be compared to the people that were given a role in the 'documentaries' because of their first-hand experience.Ħ I will limit myself to the long 'documentary' film. The interview used in many modern documentaries did not become common until the nineteen fifties. Winston indicates that the term itself was already used in 1914 by the photographer and filmer of ethnographical subjects, Edward Sheriff Curtis.ĥ The intervening titles in silent films can also be interpreted as a form of written voice-over. The documentary film revisited (London 1995) 8-9. Ansätze, Entwürfe und Methoden (Berlin 1989) 182.Ĥ Brian Winston, Claiming the real. See Beller, 'Filmgeschichte im Fernsehen -Erzählen und Zeichen', in Knut Hickethier (ed.), Filmgeschichte schreiben. Beller distinguishes the following aspects: fragments of films, interviews with eyewitnesses, contemporary footage of, for example, historical sites and buildings inserts of letters, diagrams and so on reproductions such as posters, photographs and drawings, image manipulations such as dissolves and frozen frames archival footage. Somme, in contrast, containing a lot of British material, was adapted for German audiences by a German director.ģ These films can be compared to the present compilation films, especially those that fit the description by Hans Beller, which he based on the film-historical compilation film. ![]() ![]() This film, originally English (by George Barkas and Karl Halden), was actually released in Germany - the Berlin premiere took place on 14 April 1930 - but it was not adapted for German audiences except for the translation of intervening titles. I have left Blockade und U-Bootkrieg out of consideration. I have included it in the next chapter because of its clear anti-war character. The film Namenlose Helden also appeared to consist mainly of archival footage. Since this film was the first navy film to become very popular, I have included it in the fifth chapter, which deals with navy films. Some of the nonprofessional actors playing an important part in the film are people who themselves fought on the Emden. It is a mixture of archival footage and constructed scenes. 1 Part of a quotation from Herbert Ihering on the occasion of the film Somme (Berliner Börsen-Courier 200 30 April 1930).Ģ A film such as Unsere Emden could also be put into the category of the 'documentary'.
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