scholarly journals Estudo das funções narrativas e estilísticas de sombras e sons nos filmes de influência expressionista O anjo azul e M – o vampiro de Düsseldorf

2020 ◽  
Author(s):  
Juan Francisco Celín Robalino
Keyword(s):  
Silent Cinema ◽  
Fritz Lang ◽  
German Expressionism ◽  
Mise En Scene ◽  
The Creation ◽  
Light And Shadow ◽  
Josef Von Sternberg

In the cinematography of German Expressionism, the lighting forms dark atmospheres inhabited by sinister characters whose distorted and enlarged shadows represent their negative burden. The contrast between light and shadow is crucial in the mise-en-scène of the films “Das Cabinet des Dr. Caligari” and “Nosferatu”, in which the narrative and stylistic functions of the shadow are evidenced in the composition of the scenes. Also in the transition of the so-called “silent cinema” to the sound cinema, the expressionist influence directors Josef von Sternberg and Fritz Lang, in works such as The Blue Angel and M – the vampire of Düsseldorf, have conferred dramatic value on the sound elements through the use of synchronous and asynchronous sound. In these works, the sound elements contribute to the creation of frightening atmospheres that replace the shadows or that, adding to them, increase the dramatic tension of the scenes. Subsequently, this junction of the shadows and the sound elements for the purpose of creating dramatic effects will be widely explored by sound cinema, especially in the genres of suspense and terror.

O Anjo Azul: do fim do Expressionismo à influência da Paramount – um filme de Josef von Sternberg

2021 ◽  
Author(s):  
Sérgio Bordalo e Sá
Keyword(s):  
Motion Picture ◽  
Hybrid Film ◽  
Silent Cinema ◽  
German Expressionism ◽  
Heinrich Mann ◽  
History Of ◽  
To Come ◽  
Josef Von Sternberg ◽  
Point Of Departure ◽  
Made In

“The success of the film will depend on the naked thighs of Miss Dietrich”. This was the answer that Heinrich Mann gave to Emil Jannings, when he asked the novelist if he had liked his performance. Made in 1930 and directed by Josef von Sternberg, The Blue Angel will always be remembered in the history of cinema as the movie in which the myth of Marlene Dietrich was born. However, its merits go well beyond this fact. The Blue Angel is the prototype of a hybrid film, made in Germany by an Austrian settled in America since he was a young boy, having been influenced not only by the American studio production, but also by the German Expressionism, through Max Reinhardt. A director whose cinema Nöel Simsolo compares to tapestry, in which all the elements are always necessary and important, with the supremacy of the décor because everything that appears on the screen becomes it. More than a motion picture that marks the end of an era, that of the German silent cinema, or the German Expressionism, more than a ‘foreign’ production of Paramount, The Blue Angel is above all a film by Josef von Sternberg, a point of arrival and a point of departure for all the marvels to come.

Introduction

2017 ◽  
Author(s):  
Victoria L. Evans
Keyword(s):  
Le Corbusier ◽  
Window Frame ◽  
Avant Garde ◽  
Mise En Scene ◽  
The Creation ◽  
Douglas Sirk ◽  
Architecture And Design

After describing one of Peter Greenaway's recent efforts to move beyond the limits of the cinema, Evans proposes that Douglas Sirk had already begun to dissolve the boundaries the medium by assimilating elements of avant-garde art, architecture and design into his mise-en-scène. She goes on to assert that Sirk's importation of a high art aesthetic into the low genre of melodrama echoed the widespread European Modernist preoccupation with the creation of a synergistic Gesamtkunstwerk or "total art work" during the period in which he intellectually came of age. Finally, the director's tendency to create "pictures" of the external landscape that the characters (and the viewer) are obliged to contemplate through the window frame is interpreted in the light of the theories of Le Corbusier.

Organ accompaniment in silent films, part 1 – the process of cinematic art creation

2020 ◽  
Vol 2 (14) ◽  
pp. 59-72
Author(s):  
Filip Presseisen
Keyword(s):  
Initial Phase ◽  
Data Flow ◽  
Anglo Saxon ◽  
Silent Cinema ◽  
Pipe Organ ◽  
Silent Films ◽  
Doctoral Thesis ◽  
Place Of Origin ◽  
The Creation ◽  
Lumiere Brothers

The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.

scholarly journals Light and shadow as instruments of literary and visual metaphor in Liviu Rebreanu’s The Forest of the Hanged

2020 ◽  
Vol 3 (1) ◽  
pp. 116-129
Author(s):  
Carmen Dominte
Keyword(s):  
Dynamic Effect ◽  
Close Relation ◽  
Visual Metaphor ◽  
Visual Metaphors ◽  
Mise En Scene ◽  
Light And Shadow ◽  
Aesthetic Values

Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scène. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.        

scholarly journals Principles of surrealist humour in the poetry of Leonid Shvab

2019 ◽  
pp. 187-191
Author(s):  
Oleg S. Gorelov
Keyword(s):  
Literary Criticism ◽  
Mise En Scene ◽  
Objective Chance ◽  
The Creation ◽  
Poetic Style

The article analyses the poetic style of Leonid Shvab, which is described as impassive and distant in literary criticism, while the contrasting elements of humour and violence play an important role in the texts. Through the theory of surrealist humour, which clarifi es this contradiction, the nature of the comic in Leonid Shvab’s texts is investigated, and the aestheticemotional specifi city of his poetry is clarifi ed, as well as its perception by the reader. The basic mechanisms of surrealist humour – the creation of a mise en scène (theatricality), the realisation of gallows humour, the functioning of interrelated concepts of objective humour and objective chance – and their specifi c action in Leonid Shvab's verses, which turns out to be included in the context of Russian prose of the 1920s and 30s years (Andrei Platonov) and in the context of objectoriented philosophy.

scholarly journals Fritz Lang: o Mundo pelo monóculo do Modernismo

2020 ◽  
Author(s):  
Pedro Afonso ◽  
José Alberto Pinheiro
Keyword(s):  
Science Fiction ◽  
Film Noir ◽  
Fritz Lang ◽  
German Expressionism ◽  
Modern Culture ◽  
To Come ◽  
Modern Era

The echoes of German Expressionism still resonate in this modern era of filmmaking. Much of the influence of said movement came through the innovations and transgressive thinking that Fritz Lang implemented in his movies. This article set itself to review the filmography of the German director produced between 1917 and 1933, the period of time that marked his production in German territory. Through the analysis of his life and background and themes and techniques employed in his movies, we identified several innovations that influenced filmmakers to come and laid ground for the uprising of movements such as film noir and modern thrillers. The importance of Lang’s work cannot be diminished in a time where science fiction and horror movies are so relevant in modern culture.

scholarly journals EDWARD SCISSORHANDS MOVIE AND ICONIC COSTUMES

2021 ◽  
Vol 10 (77) ◽  
Keyword(s):  
Commercial Sector ◽  
Silent Cinema ◽  
Fritz Lang ◽  
Space Design ◽  
Symbolic Meanings ◽  
Fantastic Cinema

The birth of fantastic cinema and the birth of cinema took place hand in hand. Fantastic cinema, the first examples of which were seen during the silent cinema periods, has become a cinema genre that has developed its ability to fascinate the audience with the emergence of sound cinema. The process that started with The Thief of Bagdad, shot by Douglas Fairbank in 1924, and Die Nibelungen, the same age production of Fritz Lang, has been reflected in the costumes by focusing on different subjects until today. Since the costumes in the films produced in the fantasy genre are as effective as the movie, they have also affected the sectors that are thought to be closely related. Fashion, music, textile, clothing, space design, etc. Apart from these, it is clear that shoes, bags, hair, accessories have the potential to establish, influence and reform a new lifestyle. The costumes that identify with the character also influence the viewer and trigger the commercial sector. In this paper, Edward Scissorhands movie costumes, symbolic meanings and effects on characters will be revealed, which is one of the examples of Fantastic Film of Holwwod Cinema, in 1990, directed by Tim Burton. And also; afected areas outside the cinema sector will be determined through examples. Keywords: Fantastic cinema, scissorhands, costume

scholarly journals Tokoh Kabayan Sebagai Inspirasi Torotot Heong the Song of Kabayan

2013 ◽  
Vol 9 (1) ◽  
Author(s):  
DEDEN HAERUDIN
Keyword(s):  
Creative Process ◽  
Cultural Resources ◽  
Creation Process ◽  
Communicative Performance ◽  
Mise En Scene ◽  
The Creation ◽  
Identification Stage ◽  
And Performance

Kabayan as an Inspiration of Torotot Heong The Song Of Kabayan. The theater art creation of Torotot Heongthe Song of Kabayan is a process that is inspired by the characters of folklore in Sundanese literature, Kabayan. InSundanese society, Kabayan is a stunt character from parable, a symbolic story, in the community as a media tonotify precept or wisdom. Kabayan is regarded as character with characteristic of Sundanese culture that hold on to“Cageur jeung Bageur” living guide (hale and healthy, and kind hearted). The creation process of Torotot Heongthe Song of Kabayan is performing into several stages and working methods according to Patri Pavis. It is startedby selecting the Kabayan’s Story to under take into the script. The next stage is doing some preparation for StagingProcess. The creating process is conducted through the mise en scene show’s appearance, perform into idea identification stage, artistic observation of cultural resources, the artist perspective and performance realization. TorototHeong the Song of Kabayan performances are the ultimate stage for the creative process of the hardworking teamwith a lot of effort to accomplish a communicative performance and appreciate well by the audience.

Confessions of a film restorer

2019 ◽  
pp. 101-110
Author(s):  
Thomas C. Christensen
Keyword(s):  
Image Quality ◽  
Film History ◽  
Silent Film ◽  
New Work ◽  
Silent Cinema ◽  
Archival Practice ◽  
Restoration Work ◽  
The Creation ◽  
Object Of Study ◽  
Insight Into

When restoring a film, the aim is naturally always to provide the definitive version. However, many factors make this an impossible mission. This chapter draws on actual film archival practice and theory, exposing a minefield of obstacles facing any academic study trying to examine film history based on restored works. The focus is on silent cinema restoration, intertitles, and translation issues. Using Mark-Paul Meyer and Paul Read’s categories—from a one-to-one duplication to the creation of an altogether new work—the aim is to give an insight into the complexity of silent film restoration and the practical, and sometimes very unacademic, nature of the actual restoration work. The fact that most film restorations typically concentrate on image quality rather than titles, which are often merely supposed to support the visual action, adds to the complexity of transparency about the provenance of the filmic titles as an object of study.

A New Form of Silent Cinema

2017 ◽  
Author(s):  
Michael Raine
Keyword(s):  
Silent Film ◽  
Silent Cinema ◽  
Visual Mode ◽  
Japanese Cinema ◽  
Mise En Scene ◽  
New Form ◽  
Musical Accompaniment

Ozu Yasujiro wanted to make a “new form” of silent cinema before it disappeared, something sophisticated in a fragile medium that was forced to do obvious things. His goal was to create, for the first and only time in Japanese cinema, films in which audible dialogue was displaced in favor of the intertitle as a form of “visual repartee.” After Western cinema switched to the talkie and while Japan was in the process of converting, Ozu took advantage of the transition from benshi-dialogue to actor-dialogue cinema to invent something like Hollywood silent film: a visual mode of narration with musical accompaniment and speech carried as intertitles. Ozu used the “sound version” to shut the benshi up, allowing emotion in An Inn in Tokyo to “float” as the unspoken disappointment behind banal dialogue, heard synaesthetically in the rhythm of alternating titles and images in a lyrical mise en scène.

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