To the events themselves nothing is added and apparently nothing left out save for purposes of economy. Yet Riefenstahl transfigures all, and this by the unobtrusive manipulation of standard cinema devices: camera set-ups and movement, editing, dissolves. With these devices the basic images or motifs are varied, orchestrated. These motifs are: ancient things (buildings, statues, icons); the sky; clouds (or smoke); fire; the swastika; marching; the masses; Hitler. The central theme which they develop is that Hitler has come from the sky to kindle ancient Nuremberg with primal Teutonic fire, to liberate the energy and spirit of the German people through a dynamic new movement with roots deep in their racial
Berlin, Germany The capital of Germany, Berlin is a cultural center that dates back to the 13th century. At one time it was a divided city and today it is well-known for its modern architecture, the art it offers and nightlife. Visitors can still see the graffiti covered remains of the Berlin Wall and one of its landmarks the Brandenburg Gate has become an iconic symbol of reunification. The Reichstag Building sits on the Mauerstreifen, the military zone that was between two sides of the Wall. Today it is the seat of the Federal Government and visitors can get an amazing view of the city from its glass dome.
George Melies said in the film “Hugo” that, “I would recognize the sound of a movie projector anywhere.”(Hugo). People watch films nearly all the time nowadays, but only few still remember the history of cinema. How it began, or how it created those effects of enchanted stories. Based on a novel released on 2007, The Invention of Hugo Cabret, the film “Hugo” contains historical interpretation on the nearly forgotten art in times of economic hardship and damage of war to people. Using the enchanted fantasy style, Martin Scorsese brought back the history of the film to the young people in the presents that need to remember how all dreams of film started.
Where we see the Marilyn Monroe symbol everywhere on the wall of an art house in films and we see a lot of Paik's television artworks on MTV. Their quirky vision of art is what draws the viewers to the art itself. Where they both use mediocre things like society's everyday television and America's staple groceries items to look at it in a different way and create something so complex as defining what is considered art nowadays? Viewers see that Andy Warhol has an impact on the art society when we see Nam June Paik's "Andy Warhol Robot," (1994). A sculpture of a robot that is made out of television sets with short videos made by Paik and the other parts of the TV was filmed projector of canned soup and Brillo box sculpture made by Andy Warhol.
It has been argued by Kaes, that the director of Berlin: Die Sinfonie der Grossstadt, successfully manages to ‘construct a text which makes this nexus become readable’. Moreover, the very first shot in Berlin is of open calm water, which Kaes argues is designed to deliver an impression of tranquillity and the natural organic state. Essentially it is a momentary position of calm before the onset of the frenetic urban environment. In other words, Ruttmann’s film is an allegorical impression of an immigrant’s journey of displacement, from the known rural world, into the pulsating unknown world of the metropolis of Berlin. We know that it is a one-way journey of deliverance because that movie does not offer a return train ride back to the familiar rural environment.
It is comparable to one of the first scenes where the residents of Berlin are reading out load an article about the new committed crime (00:10:15 – 00:11:12). The scene starts with a previous one because the voice of the reader appears while Bercket is writing his letter. However, in a few seconds one understands that this voice belongs to another character who reads the article in the next scene. Thus, using sounds, Lang creates new frames and various techniques to continue and develop the plot linking visual and audio narratives. Sounds increase the universe of the film, the space of one shot because there is no need to show all acting if the viewer can comprehend it anyway.
The propaganda film mainly contrasts the so-called lives of the “rich” and poor Jews living within the Warsaw ghetto, and through such claims that “while Jews live in luxury, they share nothing with the hungry.” After briefly describing “Das Ghetto”, A Film Unfinished interweaves footage from the silent black and white propaganda film with personal accounts and testimonies. It is through these personal accounts and testimonies that the viewer is able to see how much of Nazi produced footage is staged. For example, at one point there is footage of an apartment with quite lavish furniture and
Family connections have dependably been an obvious point in Japanese film from its very beginnings. Through the microcosms of family structures, Japanese movie producers have mirrored the first social clashes that have influenced their nation in their works. For instance, of the movies we have watched in class, three of them explore how family connections is a matter that affects the society today. They are: Tokyo Story, (Yasujiro Ozu, 1953), I Was Born, But… (Yasujiro Ozu, 1932), and There Was a Father (Yasujiro Ozu, 1930s) In the three movies there exists certain parallelism among them and this depends on their topics. Ozu thinks about the family as he writes his films, to the degree that it ought to be viewed as an essential component of his filmography.
"But, at the same time, mechanization has acquired such power over the man who enjoys free time and his happiness, determines so completely the manufacture of products for fun, that the subject can no longer experience anything other than copies. or reproductions of the work process itself. " Therefore, according to Adorno and Horkheimer, the function of the factories of creativity consists, on the one hand, in the mechanized manufacture of entertainment goods and, on the other, in the fixation and control - beyond the traditional production fields- of reproduction as reproduction more and more assimilated to the forms of production of the
It is the manipulation of sexual desires and the obsessive need to acquire the commodities. This is another main aspect of the modern city. Fetishism is that condition in which “…the sexual is as at home in death, as in living flesh” (Benjamin, 1999). The ‘maschinenmensch’ (German for "machine-human") ‘Maria’ from the film ‘Metropolis’, the science fiction film produced in Germany in 1927, is a social metaphor for the transformation one goes through in the modern city. The Fritz Lang directed film is set in a futuristic utopia that is divided into two classes: the workers and the thinkers.