We just tell it how we see it, nothing more, nothing less — Neue Sachlichkeit in film

Albert Renger-Patzsch's Hochofenwerk Herrenwyk, Lübeck (1928) Germany's interwar Weimar Republic may've existed amidst political chaos but it was an incredibly fertile time for the arts. German Expressionism, although it first developed around 1900, only flowered on the screen during the interwar period. Emerging Fascists enjoyed the themes of  Arnold Fanck and Leni Riefenstahl's Mountain Movies. Less … Continue reading We just tell it how we see it, nothing more, nothing less — Neue Sachlichkeit in film

Photoplays We Fancy — Schatten – Eine nächtliche Halluzination

https://www.youtube.com/watch?v=5vwUem5Us6M Schatten (dir. Arthur Robison, 1923) begins with a five minute introduction to the film’s players, who are trotted out like the foils in a police lineup onto an actual stage where they’re identified with intertitles. After this lengthy prologue, the film abandons the use of titles altogether and embraces the purely visual ideal of … Continue reading Photoplays We Fancy — Schatten – Eine nächtliche Halluzination