TCF 112 1st Edition Lecture 4 Outline of Last Lecture I. Editing and Early Soviet Cinemaa. Historical Overviewb. Editingi. Continuity editingii. Jump cutsiii. Computer-aided editingc. Overview of Soviet Cinemad. Lev Kuleshovi. Kuleshov Experimentii. Lessons of Kuleshov Experimente. Sergei Eisensteini. Eisenstein Film Clipsii. Eisenstein Aestheticf. Dziga VertovOutline of Current Lecture I. Golden Age of German Cinema 1919-1933a. Historical Context of Ufab. Ufa’s Major Contributionsi. Epicsii. Expressionistic Films1. Social and Cultural Atmosphere2. Impressionisma. Expressionism .vs. Impressionismb. Mise-en-sceneiii. Realistic/ Street Films1. The Last Laugh2. Cinematic Contributions of Ma. Sound Transitions in M3. Cinematic Significance of Langs’ Metropolis (1927)c. German Golden Age Characteristics i. Formal (Style)ii. Thematic (meaning)d. Overarching Themese. Putting it all TogetherThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.f. End of German Golden Ageg. Lasting Impact on HWCurrent LectureGolden Age of German Cinema (1919-1933):Historical Context of Ufa:‘Glass studio’ Unparalleled magnet for film talent in the 1920’sThis golden age lasted from about 1917 to 1933Ufa competed with HW for international supremacyUfa’s Major Productions:1. Epics:Historical and MythologicalEx. Madame Dubarry Ex. Siegfried2. Expressionistic Films (influences):a. Social/Cultural AtmosphereExpressionism-dominate artistic mode in the 20’s Government bans military censorship=explosion of artistic expressionb. ImpressionismBegan in the 1860’s in ParisEx. Water Lilies by Claude MonetCreative impulse- the artist capturing external world and interpreting these sensations on the canvasc. Impressionism .vs. ExpressionismExpressionism:Expressionism began around the 1890’sArtists expression of turbulent inner feelings captures subjective emotions and depicts them dramaticallyProvides means for representing subjective reality (internal feelings), in a medium that’s been good at depicting external realityEx. The Cabinet of Dr. Caligari (1919)-most quintessential expressionism film of German eraEx. Nosferatu (1922)-one of the first vampire filmsd. Mise-en-sceneEx. Frankenstein (1931)Includes everything in the frameLiterally translated as “putting into the scene”May Include:- Lighting- Set construction- Art design- Costuming- Blocking of actors3. Realistic/Street Films:a. The Last Laugh (1931):1. Sets new standard for camera movementBecomes the “unchained camera”2. Subjective cameraRecords characters POVDepicts character’s emotional and psychological distressGets beyond physical reality to subjective realityb. Cinematic Contributions of M:Cinematic storytelling-film begins using empty frames to communicate Elsie’s deathDisappearance montageInventive use of sound1. Lang resisted making sound films at first, but used sound as a key component in M2. Lang uses sound to connect shots and scenes and uses sound as a narrative clue or deviceSound Transitions in M:- Sound BridgeSame sound used across an edit; sound fx/dialogue is a common element across shots- Cut with PictureSound changes when image changes- Sound Advances CutSound changes before image; hear next shot before seeing it- Sound Delay CutSee shot while hearing sound from a previous imagec. Cinematic Significance of Lang’s Metropolis (1927)Echoes political themes of Battleship Potemkin (1925)SFX innovator and arguably most important film for Sci-fi genre (Schufftan Process)Most expensive film of its timeArchitecture and set design-mix of modernism and art decoGerman Golden Age Characteristics:Making connections between aesthetics (artistic choices) and meaningfulness (social import)1. Formal (Style)- Low-key lighting Lots of shadows and high contrastEx. Nosferatu 1922/ Sin City 2005- Oppressive Set DesignEx. Edward Scissorhands 1990- Massive ArchitectureEx. Metropolis 1927/ Bladerunner 1982- Cluttered Set DesignEx. Blue Angel 1930- Stair MotifEx. Vertigo 1958/ The Last Laugh 19242. Thematic (Meaning)Recurring narrative patterns that point towards cultural or social preoccupation or concernOverarching Themes:- Ambivalence regarding authority-good or bad, both, neither?- Characters caught between good and evil-moral confusion- Obsessed characters unable to control desires-lack of moral willPutting It All Together:Siegfried Kracaucers’ From Caligari to Hitler: A Psychological History of the German Film (1947)One of the first cultural film theoristsThesis- sexual obsession=moral degradation=deathInfluential attempt at social film criticismEnd of German Golden Age:Financial ProblemsUfa became part of Paramount and MGM=ParufametRise of the Nazis-cinema now used mainly for propagandaGerman ExodusLasting Impact on HW:Influx of amazing talentGenre-shaping films- Crime-dramas- Science fiction- HorrorMise-en-scene becomes an acceptable, recognized, and standard means of communicating internal moods and various states of