SCFZ

twodeadmagpies wrote: ↑Mon Sep 07, 2020 7:48 am 'acceptable'

does it count as nazi if it's reinhold schunzel?

- "The son of a German father and a Jewish mother"
- "Despite being Jewish, Schünzel was allowed by the Nazis to continue making films for several years until he eventually left to live abroad."
- "He was influenced by filmmakers such as his mentor Richard Oswald and Ernst Lubitsch"
- "Schünzel's work was very popular in Germany and the Nazi regime gave him the title of Ehrenarier or Honorary Aryan, allowing him to continue to direct and act despite his Jewish heritage (his mother was Jewish). He found that the government, first under Kaiser Wilhelm II and later under Adolf Hitler, interfered with his film projects, impelling him to leave 1937. Schuenzel described both the Kaiser and Hitler "persons of recognized authority and the worst possible dramatic taste.""
- "Moving to the United States, he worked in Hollywood, playing Nazis and scientists."
- "He began his American career in Hollywood in 1937 at Metro-Goldwyn-Mayer."
- "Schünzel went to New York in 1945 to make a debut on Broadway"
- "He became a U.S citizen in 1943 and he returned to Germany in 1949."

And there is some evidence that Nazi melodramas actually made less effective use of sound tracks than Hollywood melodramas. Ever wary of
excess, film critics in the Third Reich often wrote disapprovingly of the use of music to punctuate emotional moments in films. Das Mädchen Irene (The Girl Irene, 1936), for example, is an exceptional Third Reich melodrama, one that attempted to give music and camera work a higher degree of expressive power, and in which gesture is sometimes allowed to replace speech. The reviewer for the Film-Kurier commented on the film’s music as follows: “the use of the orchestra in crucial scenes is occasionally a bit overbearing.” Goebbels’s reaction to Das Mädchen Irene was even more damning, and he was so disgusted by the film that he cut short his private screening.

rischka wrote: ↑Tue Sep 08, 2020 11:52 am omar looks more like anton walbrook later on

Choose your favorite films from 1936 (according to IMDb).

do you know of any earlier examples of films that do this, or was it something kirsanoff seems to have been playing with on his own?

brian d wrote: ↑Thu Sep 10, 2020 7:47 pm thanks for both of those. i'm intrigued by the presentation of the musicians before the "action" of the film takes place. do you know of any earlier examples of films that do this, or was it something kirsanoff seems to have been playing with on his own?

Here's a sort of similar short by Walter Ruttmann from 1931.

rischka wrote: ↑Thu Sep 10, 2020 6:47 pm https://we.tl/t-VDr3GcvKE6

try this

greennui wrote: ↑Thu Sep 10, 2020 8:17 pm Here's a sort of similar short by Walter Ruttmann from 1931.

i saw something in club de femmes that reminded me of you

Apr 25, 2014, jiri's knitting circle is the most popular thread on the forum!!

rischka wrote: ↑Thu Sep 10, 2020 11:11 pm i'm watching

brian d wrote: ↑Thu Sep 10, 2020 11:11 pm i'm intrigued

Lencho of the Apes wrote: ↑Fri Sep 11, 2020 1:44 am

brian d wrote: ↑Thu Sep 10, 2020 11:11 pm i'm intrigued

I haven't even looked at them, so I can't say anything about meaning or structuralist implications, but there's apparently a companion piece, also Kirsanoff/1936, that seemed to be only a documentation of musicians playing what they played. On YT they'redistinguished from each other as F d Arethusa1 and Arethusa 2.