In Germany, the advent of sound cinema was initially dismissed as American sensation seeking. The domestic success of Josef von Sternberg’s The Blue Angel (1930) then represents a turnabout of public sentiment. The film encapsulates the paradox of Weimar cinema as it relates to its American counterpart. While in opposition to the American industry, German cinema consistently looked to Hollywood as a point of reference and the film is a result of this. As Professor Rath is seduced in the film by the cabaret singer, Lola Lola, German audiences became seduced by the film and by the technology of sound cinema. The film is a showcase of its own technological achievement and arises from the paradoxical engagement of German with American cinema, an …show more content…
It is most commonly located within a national framework wherein it is contextualised exclusively in terms of the ‘transition from Weimar to Nazi Germany’. (Petro, 2009; 255) That is to say that the film serves as a ‘statement n the psychological situation at the time’; the relationship between Lola Lola and Professor Rath is seen to depict the moral decay which precipitates the rise of Nazi Germany. (Williams, 2013; 801) It ‘proves anew the problem of German immaturity’, as Siegfried Kracauer wrote in his book From Caligari To Hitler, a pioneering work of this sociological approach which links cinema to developments within the state. (Petro, 2009; 258) The Blue Angel however is not a political work and if it does happen to capture some sort of cultural zeitgeist then this is hardly its intention. This is evident in how the film has been adapted from Heinrich Mann’s novel Professor Unrat; any political subtext has been erased and the character of Professor Rath is a reflection of this, his having been reformed from being a villainous and irredeemable figure of authority to a pitiful fool. Theodor W. Adorno, a German sociologist wrote on these differences between the film and the novel claiming that the film had turned a ‘petit bourgeois demon into a sentimental comedy figure’. (Koch, 1986; 61) In this way he is less an allegorical figure onto whom the history of the nation is traced; instead Janning’s Rath is sympathetic and nationally nondescript
The presence of an overwhelming and influential body of government, dictating the individuals of contextual society, may potentially lead to the thoughts and actions that oppose the ruling party. Through the exploration of Fritz Lang’s expressionist film, Metropolis (1927), and George Orwell’s politically satirical novel, Nineteen Eighty-Four (1948), the implications of an autocratic government upon the individuals of society are revealed. Lang’s expressionist film delves into the many issues faced by the Weimar Republic of Germany following the “War to end all wars” (Wells, 1914), in which the disparity between the upper and lower classes became distinctively apparent as a result of the ruling party’s capitalistic desires. Conversely, Orwell’s,
The Killer Angles The novel The Killer Angels by Michael Shaara depicts the story behind one of bloodiest and highly significant battle of the American Civil War. The Battle of Gettysburg consisted of 51,000-casualties between the Union and Confederate army forces. Mainly focused on letters, journal entries, and memoirs, Shaara tells the story of Gettysburg by using characters from both sides of the “spectrum”, the Confederate and Union army. These characters grasp the revolving points of view regarding the impending days of the war. Countless numbers of those views develop from characters throughout the novel. The characters include the Confederates own General Lee, General Longstreet; the Unions own Colonel Chamberlain, and soldiers from
The Killer Angels is a historical novel that recounts the battle of the Civil War, specifically focusing on the Battle of Gettysburg. Set from June 29 to July 3, 1863 and told from the point of view of several soldiers and commanding officers from both sides, Michael Shaara effectively illustrates the sentiments behind the war that tore America in two, from the strategic battle plans to the emotional hardships endured by all.
The novel The Killer Angels by Michael Shaara depicts the story behind one of the bloodiest, and highly significant, battles of the American Civil War, the battle of Gettysburg. The battle consisted of 51,000-casualties between the Union and Confederate army forces. Mainly focused on letters, journal entries, and memoirs, Shaara tells the story of Gettysburg by using characters from both sides of the war. The characters chosen grasp the divergent views regarding the impending days of the war, and countless numbers of those views develop throughout the novel. Such views come from the Confederates own General Lee and General Longstreet, and the Unions own Colonel Chamberlain and soldiers from both sides. From those depicted
Killer Angels, written by Michael Shaara, takes place in Gettysburg in the year of 1863. Prohibiting slavery in the states that did not yet become states triggered the start of the Civil War. Fort Sumter in Charleston Bay was where the war was triggered by the Confederate Army opening fire on the federal garrison and forced it to surrender. For three long years, Robert E. Lee’s Army of Northern Virginia delayed attacks by the Union Army of the Potomac. All principal confederate armies surrendered by the spring of 1865.
McKeown’s book significantly traces the enforcement of the bio-power on the national border control system against the background of the expansion of capitalist global order, and thus further debunks that the seemingly neutral face of modern international migration is a discursive and institutional mask for coloniality. His arguments keep reminding me of previous insights on our modern world by thinkers like Foucault, Walter Mignolo, and Lisa Lowe, who all stay vigilant to the progressive and emancipatory vision from the enlightenment, or, the western modernity, by revealing its dialectic relevance to its opposite, the suppression and alienation of humanity from disciplinary regimentation of social life to colonial bloodshed and enslavement.
In the history of the United States, there have been many wars like Civil War. Civil War is a war in the United States between the North and the South. In “The Killer Angels” by Michael Shaara is explained of the fogginess that often accompanies warfare. This novel talks about the period of June 30th, 1863 through July 3rd, 1863 when civil war was happening. It is a story of the Battle of Gettysburg, three years into the Civil War. The Killer Angels is also a story that at times questions what the Civil War was about. The Civil War was a war fought over slavery and the North made their own way to South by imposing the South. Slavery was the main reason what got the Civil War started in the South and separation between South and North was stronger.
The nation and people were separated and each man fought for what they believed to be right for them. Whether the men sided with the north or south it really did not matter. Whether they believed slavery should be abolished or not, it was not too prevalent in this book. Some men fought for themselves, for their families, to protect their land, and some because it was the morally right and loyal thing to do. Whatever reasons the soldiers decided to fight that day and days subsequently, I am sure they could not have dreamed of the legacy that their heroism and bravery that The Battle of Gettysburg has left in American History. With over 50,000 casualties occurred that occurred over three days of aggressive fighting, the battle was vital turning point in the civil war.
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
In 2009, R&B singer, Maxwell released to the world Pretty Wings, a song in which meeting the right girl at the wrong time becomes bittersweet. Black was the first album of Maxwell 's BLACK summer 's night trilogy. He explained to MTV News "Three sides of my crazy personality. Black is dark. Summer 's is the lighter side. That album is more of a gospel side - not in the traditional sense, but more like Deepak Chopra meets that minister or that pastor down in the South somewhere. The Night album is the ultimate love record (Pretty Wings by Maxwell Songfacts)”.
Andreas Huyssen. “The Vamp and the Machine: Technology and Sexuality in Fritz Lang’s Metropolis.” New German Critique: and Interdisciplinary Journal of German Studies. (1982)
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Perhaps one of the most haunting and compelling parts of Sanders-Brahms’ film Germany Pale Mother (1979) is the nearly twenty minute long telling of The Robber Bridegroom. The structual purpose of the sequence is a bridge between the marriage of Lene and Hans, who battles at the war’s front, and the decline of the marriage during the post-war period. Symbolically the fairy tale, called the “mad monstrosity in the middle of the film,” by Sanders Brahms (Kaes, 149), offers a diagetic forum for with which to deal with the crimes of Nazi Germany, as well a internally fictional parallel of Lene’s marriage.
Compare and contrast the relationship of the detective to his or her community in Devil in a Blue Dress and Corollary In Walter Mosley’s “devil in a blue dress”, there is a clear cut distinction between the white and black man, this distinction is portrayed as something that is somewhat negative and looks at the situation from the eyes of a black man named Ezekiel “Easy” Rawlins and how he is changed from a simple day to day laborer into an effective detective.
German Cinema since Unification. Edited by David Clarke. Continuum, in association with University of Birmingham Press. 2006