By Terri Ginsberg, Andrea Mensch
A better half to German Cinema deals a wide-ranging choice of essays demonstrating state-of-play scholarship on German cinema at a time within which cinema reviews in addition to German cinema have once more all started to flourish.
Offers a cautious mix of theoretical rigor, conceptual accessibility, and highbrow inclusiveness
Includes essays via recognized writers in addition to up-and-coming students who take leading edge serious methods to either commonplace and emergent parts within the box, specifically relating to race, gender, sexuality, and (trans)nationalism
Distinctive for its modern relevance, reorienting the sphere to the worldwide twenty-first century
Fills severe gaps within the extant scholarship, commencing the sphere onto new terrains of severe engagement
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Extra info for A Companion to German Cinema
Ruttmann’s ‘city symphony’ film was to come up in conversation when Eisenstein met with James Joyce in 1930. Richter was tremendously impressed by what he described as Eisenstein’s charming manner, his dignity, his great intelligence, and presence. He later was to remember him as the most interesting person he had ever met. There is a sketch portrait of Eisenstein by Richter which dates from this period. However, between them the learning process seems not to have been just a one-way street. At La Sarraz, Richter was amused by Eisenstein’s intense curiosity, awakened by a film the like of which he had probably never seen before, his Ghosts Before Breakfast.
S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J. S. Bach. In the evenings he would hold court by a fountain outside Zürich railway station. Richter sought his advice about how he could obtain a sense of equilibrium and counter-equilibrium between the black ink marks and the white paper in his drawings, a difficulty he believed was analogous to a musical problem.
38 The latter work began as a set of drawings based on combinations of forms from the repertoire of shapes and drawings in his Thorough-Bass of Painting. Eggeling then used these abstract motifs, which are related both in horizontal and in vertical terms like counterpoint, to make a ten minute film also titled Horizontal-Vertical Orchestra. By this time he had already met Hans Richter and they had started their collaboration. As mentioned above, Eggeling was introduced to Richter in 1918, by one of the key poets and founders of the Cabaret Voltaire, Tristan Tzara.