Film Studies

Download E-books Herr Lubitsch Goes to Hollywood: German and American Film after World War I (Amsterdam University Press - Film Culture in Transition) PDF

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By Kristin Thompson

Ernst Lubitsch, the German filmmaker who left Berlin for Hollywood within the Nineteen Twenties, is healthier remembered this day for the well-known "Lubitsch contact" in such masterpieces as Ninotchka, which featured Greta Garbo's first-ever reveal smile, and Heaven Can Wait. Kristin Thompson's learn analyzes Lubitsch's prior silent motion pictures of 1918 to 1927 with the intention to hint the mutual affects among the classical Hollywood movie kind because it had advanced within the 1910s and the German movie of a similar interval, which had emerged from international struggle I moment in power simply to Hollywood.

During global struggle I, American enterprises provided theaters all over the world as French and Italian movies had turn into scarce. sarcastically, the battle reinforced German filmmaking as a result of a ban on imports that lasted till 1921. in the course of that interval of isolation, Lubitsch turned the best proponent of German filmmaking and as soon as Hollywood motion pictures seemed in Germany back Lubitsch was once speedy to soak up their stylistic features to boot. He quickly turned the original grasp of either kinds because the golden a long time of the yankee and German cinema have been starting. This cutting edge research makes use of Lubitsch's silent motion pictures as a way to match nice nationwide cinemas at a necessary formative interval in cinema heritage.

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Walther Reimann, “Ein Nachwort zum ‘Caligari’-Film,” Die Filmtechnik 1, 10 (October five, 1926): 221. the 1st a part of this text used to be released lower than an identical name in Die Filmtechnik 1, nine (September 25, 1925: 192-193. For different contributions to the painter-vs. -architect debate, see Walther Reimann, “Filmarchtektur-Film- Notes 17. 18. 19. 20. 21. 22. 23. 24. 25. 143 architekt? ” Gebrauchsgraphik no. 6 (1924/1925), rep. in Rolf Aurich and Wolfgang Jacosen, eds. , Werkstatt movie: Selbstverständnis und Visionene von Filmleuten der zwanziger Jahre (Munich: variation textual content + kritik, 1998), pp. 111-115; Karl Freund took the painterly place in “Die Berufung des Kameramannes,” Die Filmtechnik 2, 2 (January 20, 1926): 22-24; Reimann answered to either Freund and L. Witlin’s (see subsequent endnote) articles in “Filmarchitechtur – heute und morgen? ” Die Filmtechnik 2, four (February 20, 1926): 64-65; and Lothar Holland, “Die Szenerie,” Die Filmtechnik three, eleven (May 28, 1927): 198-199. Erno Metzner could have helped start up the controversy through a passage in a 1924 article: “To envision and style a painterly movie fabric, that I take to be the trail for the tradition of décor. ” See his “Die Kultur der Dekorations,” in E. Beyfuss and A. Kossowsky, eds. , Das Kulturfilmbuch (Berlin: Carl P. Chryselius’scher Verlag, 1934), rep. Aurich and Jacobsen, Werkstatt movie, pp. 104-106. L. Witlin, “Filmarchitect oder Filmmaler? ” Die Filmtechnik 2, three (February five, 1926): 43-44. Witlin’s article answered particularly to Reimann’s “Filmarchitektur-Filmarchitekt? ” Georg Otto Stindt, “Bildschnitt,” Die Filmtechnik 2, 7 (April three, 1926): 129. Walther Reimann, “Filmbauten und Raumkunst,” Das grosse Bilderbuch des motion pictures (Berlin: Film-Kurier, 1926), rep. in Aurich and Jacobsen, Werkstatt movie, pp. 115119. Stindt, “Bildschnitt,” pp. 130-131. Adolf Kobitzsch, “Kontinuität der Bilderfolge,” Die Filmtechnik three, 25 (December 10, 1927): 438-439. “Die entfesselte Kamera,” Ufa-Magazin 2, thirteen (March 25-31, 1927): n. p. Ewald Andre Dupont, “Camera paintings on Scenes in ‘Variety,’” big apple instances (July 1926): Sec. 7, p. 2. Mordaunt corridor, “Lubitsch earrings the Bell Again,” the recent York instances movie studies 1913-1968 (New York: ny instances & Arno Press, 1970), vol. I, p. 926; Sime, “So this can be Paris,” sort movie reports (New York: Garland, 1983), vol. III, n. p. (August 18, 1928). Florey, Deux ans, p. 121. Notes to Epilogue 1. 2. three. four. five. 6. Peter Bogdanovich, “The Director I by no means Met” in his Who the satan Made It (New York: Alfred A. Knopf, 1997), p. 31. Cameron Crowe, Conversations with Wilder (New York: Alfred A. Knopf, 1999), pp. 32-33. Herman G. Weinberg, The Lubitsch tricky: A serious examine (New York: E. P. Dutton & Co. , 1968), p. 25. Weinberg, The Lubitsch contact, p. 287. The citation comes from a letter from Fairbanks to Weinberg written in 1968. Danny, “Pictures,” The movie day-by-day 34, seventy one (December 24, 1925): 1. “The Screen,” long island instances (April 18, 1921), rep. in ny occasions movie stories (New York: ny occasions and Arno Press), vol. I, p. ninety three. a hundred and forty four 7. eight. nine. 10. eleven. 12. thirteen. 14. 15. sixteen.

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