By McCormick, Richard W.; Guenther-Pal, Alison
This interesting quantity is for all critical scholars of ecu cinema in addition to historians of Germany within the twentieth century. "German Essays on movie" is split into 5 elements: past due Wilhelmine Germany; Weimar Republic (1918-33); contained in the "Third Reich" (1933-45); Intellectuals in Exile; and Postwar Germany: seeing that 1945. one of the writers, thinkers, filmmakers, and students anthologized are: Alfred D blin, Georg Luk cs, Claire Goll, Hugo von Hofmannsthal, Fritz Lang, F. W. Murnau, Joseph Goebbels, Leni Riefenstahl, Walter Benjamin, Max Horkheimer, Theodor W. Adorno, Siegfried Kracauer, R. W. Fassbinder, Wim Wenders, Gertrud Koch, and so on. The creation by means of McCormick and Guenther-Pal in addition to beneficiant headnotes support to place some of these essays into ancient standpoint
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This was also probably due to the meager payment for sketches, as most of the work remained for the director. According to the suitability of the piece, it was quite variable, of course, and ranged between 20 and 100 marks. Important literary writers have only very recently placed their power in the service of the cinemas; the psychology in their so doing is complex. If people felt "responsible" for the intellectual nourishment of the broad masses after they had realized that no expurgation of scenes of horror had been achieved by the strict rejection of cinematographic dramas and by this purely negative position, they might have thought to see the cinema as the path to a mass of people as yet entirely closed to art, even if this turn-around ultimately lay in purely opportunistic motives.
Only nudities powdered and made-up as thickly as an arm, bawdily gyrating bellies and other dubitable stimulants are a final palliative to the complete eclat of these stages. And even this, long since bedraggled, totters only clatteringly through the nights. The Walter Serner • 19 imagination that comes into the room to be whipped up leaves him betrayed and in the bored mind to make the Sunday strength of this knee-weakening eroticism look ridiculous every day of the week. And the despaired raggedness of an American eccentric and his furious dives through open windows, the horseback vaulting exercises of leotard-clad abdomens on coughing pinzgauers and the breakneck leap from the highest pole of the circus tent in a quintuple pullover, buffalo baize, and larger-than-life mittens: they no less offer laborious surrogates to the famished eye of the lascivious onlooker.
And the competition that the cinema program is attempting to create through its flirtation with the theater is unsuccessful: it causes no one to exchange the stage for the screen, but rather leads some to be untrue to the latter. A far cry from going to the theater, of course. The failures of the censor, which sometimes acts in excusable error yet all too often in oversensitive innocence, are thus balanced out to a certain degree. By this, though, the cinema should not be harmed. It only gives more than is required to the desire to watch, which previously had to go begging; additionally, it corresponds to a deep need that is undeniable and, if denied, will satisfy itself.