By Tim Bergfelder, Visit Amazon's Sue Harris Page, search results, Learn about Author Central, Sue Harris, , Sarah Street
Ecu cinema among global Wars I and II used to be popular for its amazing cognizance to aspect and visible results in set layout. Visionary designers akin to Vincent Korda and Alfred Junge prolonged their effect throughout nationwide movie industries in Paris, London, and Berlin, reworking the studio approach into one in all permeable creative groups. For the 1st time, movie structure and the Transnational mind's eye offers a comparative research of eu movie set layout within the past due Twenties and 1930s. in keeping with a wealth of drawings, movie stills, and archival files from the interval, this quantity illuminates the rising value of transnational creative collaboration in gentle of advancements in Britain, France, and Germany. A complete research of the practices, types, and serve as of interwar cinematic construction layout, movie structure and the Transnational mind's eye bargains new perception into the period’s striking achievements and impact on next generations.
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Extra resources for Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam University Press - Film Culture in Transition)
However, the reality was somewhat European Set Design in the 1920s and 1930s 41 different. Until the early s, German films were either shot on outdoor locations and stages, or in ‘glasshouses’, that is studios with glass roofs that allowed diffuse sunlight to naturally illuminate the sets (which in the early years were almost exclusively painted backdrops). It was indeed in a glasshouse, the Lixie studio in the Berlin suburb of Weissensee, that Caligari was shot. Although Lothar Schwab has pointed to the experimental use of carbon-arc lamp floodlights by German film pioneer Oskar Messter as early as /, these were meant to simply complement natural light sources, not to replace them.
Her book is primarily consulted today for its discussion of expressionism in relation to German cinema and for its championing of this tradition over other cinematic tendencies. Eisner notes the crucial influence of the expressionist movement on the development of German film in the s, in terms of the latter’s ideological principles as much as in terms of its specific stylistic characteristics. Nevertheless, although her overall aim may have been to construct a retrospective unity and national identity for German filmmaking practices of the s, her study at the same time cannot help but demonstrate that Weimar cinema (both regarding its stylistic influences and the personnel that helped create it) was profoundly eclectic and cosmopolitan.
Kracauer and Eisner’s readings have left us with two specific conceptions of the function of set design in Weimar cinema. The first centres on an intrinsic causal relationship between a collective psychological disposition (what Kracauer terms the national soul), a historically specific socio-political situation, and cinematic mise-en-scène. The second notion concerns the relationship between cinematic practices (mediated by genial individual artists) and a legacy of nationally discrete developments in art history.