The eyewitnesses that are now asked to tell their stories may be compared to the people that were given a role in the 'documentaries' because of their first-hand experience.Ħ I will limit myself to the long 'documentary' film. The interview used in many modern documentaries did not become common until the nineteen fifties. Winston indicates that the term itself was already used in 1914 by the photographer and filmer of ethnographical subjects, Edward Sheriff Curtis.ĥ The intervening titles in silent films can also be interpreted as a form of written voice-over. The documentary film revisited (London 1995) 8-9. Ansätze, Entwürfe und Methoden (Berlin 1989) 182.Ĥ Brian Winston, Claiming the real. See Beller, 'Filmgeschichte im Fernsehen -Erzählen und Zeichen', in Knut Hickethier (ed.), Filmgeschichte schreiben. Beller distinguishes the following aspects: fragments of films, interviews with eyewitnesses, contemporary footage of, for example, historical sites and buildings inserts of letters, diagrams and so on reproductions such as posters, photographs and drawings, image manipulations such as dissolves and frozen frames archival footage. Somme, in contrast, containing a lot of British material, was adapted for German audiences by a German director.ģ These films can be compared to the present compilation films, especially those that fit the description by Hans Beller, which he based on the film-historical compilation film. This film, originally English (by George Barkas and Karl Halden), was actually released in Germany - the Berlin premiere took place on 14 April 1930 - but it was not adapted for German audiences except for the translation of intervening titles. I have left Blockade und U-Bootkrieg out of consideration. I have included it in the next chapter because of its clear anti-war character. The film Namenlose Helden also appeared to consist mainly of archival footage. Since this film was the first navy film to become very popular, I have included it in the fifth chapter, which deals with navy films. Some of the nonprofessional actors playing an important part in the film are people who themselves fought on the Emden. It is a mixture of archival footage and constructed scenes. It will only result in ads being displayed that do not reflect your preferences and interests.1 Part of a quotation from Herbert Ihering on the occasion of the film Somme (Berliner Börsen-Courier 200 30 April 1930).Ģ A film such as Unsere Emden could also be put into the category of the 'documentary'. Rejecting these cookies will not affect your use of our website, but it will not stop advertising on our pages. These cookies are used for marketing purposes to display targeted advertising on the pages of our website and on the websites you visit next. You can refuse cookies if you want to browse our website. They also allow us to evaluate the effectiveness of our marketing campaigns. These cookies are used to collect information about your use of the site in order to improve its content, make it more relevant to your needs and increase its usability. You may decline the use of these cookies. These cookies collect information about your viewing and search choices and preferences to make your browsing experience more enjoyable and personalized. These essential cookies are placed as soon as you access the site because they are required for navigation. Some of these cookies are also necessary to ensure the security of our website, for example in order to fight fraud. These cookies are essential to the operation of many of our services.
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