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Author: Lotte H. Eisner
Publisher:
ISBN: 9780520022850
Category : Performing Arts
Languages : en
Pages : 292
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Book Description
Author: Lotte H. Eisner
Publisher:
ISBN: 9780520022850
Category : Performing Arts
Languages : en
Pages : 292
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Book Description
Author: Les Hammer
Publisher:
ISBN: 9781618631824
Category : Biography & Autobiography
Languages : en
Pages : 56
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Book Description
Silent film historian Anthony Slide (Nitrate Won't Wait, Silent Players) hails the work of Les Hammer in F.W. Murnau: For the Record - the book that shatters the myth surrounding the accidental death of the silent film director Friedrich Wilhelm Murnau in 1931. In his book, the author refutes the twice-told tale of sex and death in Kenneth Anger's notorious expose 'Hollywood Babylon', reveals the identity of the valet who was involved in the fatal accident and restores the illustrious name and reputation of the man whom director Werner Herzog praises as "the greatest filmmaker in Germany" - Friedrich Wilhelm Murnau.
Author: Jens Rymes
Publisher: GRIN Verlag
ISBN: 3638431398
Category : Literary Criticism
Languages : en
Pages : 17
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Book Description
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Heidelberg (Anglistisches Seminar), course: Cinema and Society, Kino und Gesellschaft, language: English, abstract: 1 Introduction In adapting Stoker’s Dracula, Murnau has made quite a few changes to the original plot. Some of them were made due to economic and practical reasons, such as moving the setting and locations to Germany, some of them in order to avoid charges of copyright infringement, such as changing the characters’ names, as Murnau was not authorised to make an adaptation. However, Murnau doesn’t simply copy Dracula. Stoker’s novel about the intrusion of an alien evil into English society is transformed into a story mirroring the fears that prevailed in Germany in the late 1910’s. Screenwriter Henrik Galeen and di¬rector Murnau were obviously influenced by the impressions that both World War I and the influenza pandemic had left. The war had left large areas in Central Europe in ruins and had triggered many political changes. Often, the new-founded Weimar Republic was seen as weak and incapable of acting. Moreover, the outbreak of the Spanish Flu in 1918 proved no less devastating, ranking “with the plague of Justinian and the Black Death as one of the three most destructive human epidemics.”(1) Assisted by large troop movements and disastrous hygienic con¬ditions after the armistice, the disease spread across the globe within less than three months. Physicians and scientist were helpless. There was no immunization available: the influenza virus could not be isolated and positively identified as the pathogene until 1932. In fact, even today there are no means of preventing another influenza epidemic(2) . Murnau begins with a caption that presents the movie as a record of an epidemic: “Aufzeichnung über das große Sterben in Wisborg.” The vampire is not the party animal that Lugosi impersonated; instead, Murnau draws on a tradition that associates vampires with unexpected or inexplicable death. His creature feeds on a society which is defenseless against him, either because its members are too weakened or too terrified to take action. Thus, though set almost one hundred years in the past, Nosferatu presents an actualisation of Dracula. [...] ______ (1) Potter, C.W. “A history of influenza”. Journal of Applied Microbiology 31. 2001: 575. (2) cf. ibid., 572.
Author: Rob White
Publisher: Taylor & Francis
ISBN: 9781579583286
Category : Motion pictures
Languages : en
Pages : 656
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Book Description
Author: Jon Lewis
Publisher: Duke University Press
ISBN: 9780822338215
Category : Performing Arts
Languages : en
Pages : 428
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Book Description
DIVA collection of essays illustrating new methods and theories of film history./div
Author: Timothy Corrigan
Publisher: Routledge
ISBN: 1317928970
Category : Performing Arts
Languages : en
Pages : 245
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Book Description
Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation. Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naiveté and wilful self-absorption. To his hardest critics, Herzog’s films appear as little more than Hollywood fantasies disguised as high seriousness. This book is an attempt to illuminate these contradictions. It gathers essays that focus from a variety of angles on Herzog and his work. The contributors move beyond the myths of Herzog to investigate the merits of his work and its place in film history. A challenging range of films is covered, from Fata Morgana and Aguirre, the Wrath of God to more recent features such as Nosferatu and Where the Green Ants Dream, offering the reader ways of understanding why, whatever the controversies surrounding Herzog and his films, he remains a major and popular international filmmaker. Orignally published in 1986.
Author: Paul Rotha
Publisher: University of Pennsylvania Press
ISBN: 0812278879
Category : Art
Languages : en
Pages : 403
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Book Description
Biography of filmmaker who produced "Nanook of the North" among other films.
Author: Angela Dalle Vacche
Publisher: University of Texas Press
ISBN: 9780292715837
Category : Performing Arts
Languages : en
Pages : 324
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Book Description
The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity. Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse). While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.
Author: Cristina Massaccesi
Publisher: Liverpool University Press
ISBN: 1800346816
Category : Performing Arts
Languages : en
Pages : 129
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Book Description
Unravels the never-ending fascination exercised by the film and provides a clear guide to the film's contexts, cinematography, and possible interpretations, covering the political and social contexts.
Author: Lucy Fischer
Publisher: Columbia University Press
ISBN: 9780231500579
Category : Performing Arts
Languages : en
Pages : 312
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Book Description
Grand, sensational, and exotic, Art Deco design was above all modern, exemplifying the majesty and boundless potential of a newly industrialized world. From department store window dressings to the illustrations in the Sears, Roebuck & Co. catalogs to the glamorous pages of Vogue and Harper's Bazar, Lucy Fischer documents the ubiquity of Art Deco in mainstream consumerism and its connection to the emergence of the "New Woman" in American society. Fischer argues that Art Deco functioned as a trademark for popular notions of femininity during a time when women were widely considered to be the primary consumers in the average household, and as the tactics of advertisers as well as the content of new magazines such as Good Housekeeping and the Woman's Home Companion increasingly catered to female buyers. While reflecting the growing prestige of the modern woman, Art Deco-inspired consumerism helped shape the image of femininity that would dominate the American imagination for decades to come. In films of the middle and late 1920s, the Art Deco aesthetic was at its most radical. Female stars such as Greta Garbo, Joan Crawford, and Myrna Loy donned sumptuous Art Deco fashions, while the directors Cecil B. DeMille, Busby Berkeley, Jacques Feyder, and Fritz Lang created cinematic worlds that were veritable Deco extravaganzas. But the style soon fell into decline, and Fischer examines the attendant taming of the female role throughout the 1930s as a growing conservatism challenged the feminist advances of an earlier generation. Progressively muted in films, the Art Deco woman—once an object of intense desire—gradually regressed toward demeaning caricatures and pantomimes of unbridled sexuality. Exploring the vision of American womanhood as it was portrayed in a large body of films and a variety of genres, from the fashionable musicals of Josephine Baker, and Fred Astaire and Ginger Rogers to the fantastic settings of Metropolis, The Wizard of Oz, and Lost Horizon, Fischer reveals America's long standing fascination with Art Deco, the movement's iconic influence on cinematic expression, and how its familiar style left an indelible mark on American culture.
