Eric Rentschler writes that post-war German cinema envisions “a better future and work beyond (if not through) the experiences of the Third Reich, a past that, in crucial regards, refused to go away.” In fact, postwar german cinema seem to portray the city as a space of ambiguity, where the people continue to thrive in even the poorest, most ravaged of neighborhoods (A Foreign Affair, 1948) and, on the other hand, shows as a space of reconstruction and rehabilitation (Murderers Among Us, 1946). Under other most notable conditions, cinema also interprets Berlin as a place of separation and duality (The Legend of Paul and Paula, 1973). The city is fragmented, disassembled and rearranged into multi-avenue and diverse spaces, a force structured …show more content…
The city is therefore as much a shell as any of the heavily bombed buildings. However when a building is decimated and repurposed, there is of course an activated notion of this divide between its past function and the present condition. Romantic films like A Foreign Affair use this motif to yearn for the past, finding its perch in these transitioning sites and also as a point of subdued fascination for a space which seem to employ time differently. Later films like The Legend of Paul and Paula use the divided motif to represent a sense of duality in the setting as well as in the characters. Putting aside romanticism, what is found in Paul and Paula is an attempt to locate a duality that deeply reflects the legacy of modernity. Aspects of Berlin are diametrically dilated somehow, where spaces also becomes the embodiment of a much larger, more complicated headway. Decimated buildings, which behave as transitory fixatives and as visual duality to a distant time, are either anthropomorphized or romanticized through an aesthetic that pampers to a warping of
When cities are featured in literature, they are a guiding force for the characters. In The Trial, Franz Kafka writes about a single young banker named Joseph K. and his battle for innocence against an unexpected arrest which he cannot attain any information. Joseph K. continuously refuses to try to understand his city, Prague. In contradiction, in Emile Zola’s The Ladies Paradise a young meager woman, Denise, raises her two younger brothers as she thrust into the emerging world of the department store where she finds wealth, happiness, and love.
Allen bases his vision on the New York of the Golden Era, in which Hollywood “excit[ed] the collective imagination and fantasies of its audience, offering them upper class glamor and success” (Quart 14). Nonetheless, the main protagonist also talks about the “decay of contemporary culture” (Allan, Manhattan), thus being aware of the social and economic tensions and that the city consists of two
The film La Haine (1995) directed by Mathieu Kassovitzs is a French movie set in an inter-racial housing project Paris suburb. Against the backdrop of police high handedness , brutality and social inequality fuelled by hate and violence from restive youths, this drama in a new genre known as Benlieue films mirrors the social problems of migrant slum dwellers with disillussioned youths bedeviled with a bleak future and hopelessness. When considering the theoretical framework in which banlieue movie La Haine is set, it’s important to look at the French climate during 1995 as there were numerous happening which occurred that year allowing the feature itself to tap into the zeitgeist, and become extremely relevant through it’s depiction of the urban French ghetto, which is the aesthetic back drop to the film itself. As stated by Hayward in French National Cinema, “What originally appeared as the banlieue film’s strength — a genre that, through its focus on the disadvantaged urban periphery, would allow for an engagement with key socio-political debates of the period (exclusion,
SITE ANALYSIS: Located in central Holland, in a small city called Utrecht, the Schroder Rietvield house lies in midst a neoclassical neighborhood that is mainly constructed of brick. This modernist house is merely an intruder to this rather homogeneous neighborhood, as it is clearly noticeable upon encountering it. I was startled when I encountered the Schroder house on Hendriklaan street as I felt like I was out of place.
Setting Theme Urban space is central to the narrative, encompassing visuals that build expectations of wholeness and totality in this ultra-modern world. The city is often seen from afar, in panoramic displays, creating the impression of an inflexible entity, seemingly capable of compressing human history. The city becomes a contrasting figure of its inhabitants- scattered bodies, always on the move, and unable to form social clusters. Interior spacing (Theodore’s apartment, office) contains Theodore’s experiences, but fail to produce a comforting projection of his emotions. For example, windows frame the exterior highlighting what is seen; referencing what is not seen.
This writing by Berman was particularly interesting in all the quotes from opposing viewpoints of writers who weren 't necessarily designers, but of observers of urban development captured in a time that’s hard to relate to if not for these other pieces of work. The quote in the beginning by Rem Koolhaas described a city of wonder and technology advancing so fast it seemed magical. That last quote from the Great Gatsby I had not realized had so much context to what we’re studying. A city described in ashes, where ashes begets more ashes through undying advancement and rebirth. New York described as a city never really having an identity that’s solid, instead melts into ashes swept into the air and made again and
The video “Imaginary Witness: Hollywood and the Holocaust” is directed by Daniel Anker and narrated by Gene Hackman. The film examines the treatment of the Jews during the Holocaust in Hollywood. These films, over a period of sixty years, portray the impact of the public perception and thinking of the Holocaust. The documentary provides survey of Hollywood films about the Holocaust, and a history of the Holocaust itself. It also shows before and after the war.
For Kate’s city apartment, the film uses an expressionistic set design to demonstrate the artifice of city life. Her apartment is viewed flat and squarely from the side, with an emphasis of the geometry of the space. Kate’s apartment is a claustrophobic little box within the big harsh city. Through her windows, we see billboard lights and theater marquees flicker on and off with no clear pattern, showing a hectic world outside. Even if the audience can tell that the billboards look unrealistic, the set still communicates Kate’s experience of her uncomfortable environment.
The all-too familiar chant ‘Heil Hitler, Heil Hitler’ pervades the screen. As I watch this compelling beginning of the film ‘Triumph of the Will’, directed by Leni Riefenstahl (1934), I am torn between two opposing thoughts. Is this cinema at its best or propaganda at its worst?
Introduction In the 1960s and 1970s, there was a great deal of academic research on memory, that is ‘memory boom’. As a contemporary architect, Rossi (1984) emphasized the importance of history and argued that memory or history are the clues of understanding the complex urban structure, which was influenced by psychologist Carl Jung. However, Nietzsche (1997), the philosopher at the same time, had criticized the recognition of overemphasizing the meaning of history. In this essay, we will explore the significance of collective memory and history.
The Postmodernist movement began in America in the 1960s and then spreads to Europe and the rest of the world, continuing through to the present day. The typical postmodern buildings are the combination of new ideas with the traditional gable, iconic flat roof and traditional forms. (Klotz, 1988) Rem Koolhaas’s Strategy of the void is one of the concepts that have prominently been discussed in the postmodern architectural environment. “Strategy of the Void” is the title of Koolhaas’s statement for his Tres Grande Bibliotheque competition entry and it involves creating situations which introduce voyeuristic gaze and in which the voided space both blocks direct vision and reveals supposedly hidden elements.
This paper will consider the role that each of the film ‘arts’ play in “La Haine” and an explanation of why it’s my all-time favourite film. Mise-en-scene & Narrative: “La Haine” opens with grainy footage of young men protesting and rioting against police in the poor 1990s Parisian estates. We are immediately introduced to
Madanipour, (1996) talked about ambiguities of understanding urban design and the complexities of perceiving urban spaces. One of the most important features of urban space is to make sense of a city life when walking along any of its streets, to think about the complexity of what is seen , and to wonder about what lies behind buildings facades or beyond the bend of the street. The urban space is full of overlapping and intertwined stories that this collection of people, objects and events offers. There is a continuous change in the urban scene because of constant transformation of landscape, or cityscape around, a mutation that has come to associate with livelihood without movement and change. Understanding the urban space and processes
Rather, they represent what ordinary dwellers continuously have to do – if rarely under circumstances of their own choosing – to secure a housing and livelihood in the city. These practices are embedded in the particular setting’s historical and sociocultural construct. They represent the tactical, improvised and often temporal spatial practices of the lived city, as opposed to the strategic, zoned and regulated urban life as represented by abstract master plans. The term spatial should here be understood with reference to the mutual influence of built environ¬ments and the social practices performed within them. Tonkiss has investigated this interplay bet¬ween the social and physical shaping of contemporary cities.