Nach Hause (LFS 06056 5) : Différence entre versions
| (2 révisions intermédiaires par le même utilisateur non affichées) | |||
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|apercu=LFS06317_5_Nach Hause.jpg | |apercu=LFS06317_5_Nach Hause.jpg | ||
|lieux_ou_monuments=Freiburg i.B. | |lieux_ou_monuments=Freiburg i.B. | ||
| − | |lieuTournage=47. | + | |lieuTournage=47.98343, 7.86475 |
| − | |thematique=Environment@ Outdoor activities | + | |thematique=Environment@ Outdoor activities@ Wedding |
|Resume_de=Witzig inszenierter Familienfilm mit Hochzeit, zum Teil viragiert. | |Resume_de=Witzig inszenierter Familienfilm mit Hochzeit, zum Teil viragiert. | ||
| − | | | + | |Resume_en=Funny staged family film with wedding, partly viraged. |
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|Contexte_et_analyse_de=„Auf dem Weg nach Hause.“ Die erste Schrifttafel des Films ist wie die übrigen Tafeln in diesem Kurzfilm grün viragiert und unten rechts hat sich der Filmemacher mit seinen Initialen Dr. E.M. verewigt. Die kleine Gruppe in Festkleidung geht durch die als ‚Hauptstraße‘ bezeichneten Waldweg, der sich – von oben aufgenommen – diagonal durch einen kahlen Winterwald zieht. Schrifttafeln und bewusste Bildkomposition – der kurze Familienfilm vom Ende der 1920er Jahre nimmt Bezug auf die Tradition des Stummfilms. Und er nutzt das Medium Film, um das bürgerliche Standesbewusstsein in Szene zu setzen. Denn zu dieser Zeit konnten sich nur wohlhabendere Familien das teure Hobby Film leisten. | |Contexte_et_analyse_de=„Auf dem Weg nach Hause.“ Die erste Schrifttafel des Films ist wie die übrigen Tafeln in diesem Kurzfilm grün viragiert und unten rechts hat sich der Filmemacher mit seinen Initialen Dr. E.M. verewigt. Die kleine Gruppe in Festkleidung geht durch die als ‚Hauptstraße‘ bezeichneten Waldweg, der sich – von oben aufgenommen – diagonal durch einen kahlen Winterwald zieht. Schrifttafeln und bewusste Bildkomposition – der kurze Familienfilm vom Ende der 1920er Jahre nimmt Bezug auf die Tradition des Stummfilms. Und er nutzt das Medium Film, um das bürgerliche Standesbewusstsein in Szene zu setzen. Denn zu dieser Zeit konnten sich nur wohlhabendere Familien das teure Hobby Film leisten. | ||
| Ligne 52 : | Ligne 39 : | ||
Das Expressive kann im neuen Medium auch in die Alltagssituation eingehen, wenn sich die fünfköpfige Familie am Schluss im Garten des Hauses darstellt. Beim Arrangieren des Gruppenbilds geben sie sich spielerisch souverän – einer der Jungen führt mit Holzgewehr Militärisches vor. Und das bloße Sich-Zeigen in den Fenstern des eigenen Hauses wird unscheinbar zum Bild einer neuen Bürgerlichkeit und macht die Inszeniertheit der Szenen deutlich. | Das Expressive kann im neuen Medium auch in die Alltagssituation eingehen, wenn sich die fünfköpfige Familie am Schluss im Garten des Hauses darstellt. Beim Arrangieren des Gruppenbilds geben sie sich spielerisch souverän – einer der Jungen führt mit Holzgewehr Militärisches vor. Und das bloße Sich-Zeigen in den Fenstern des eigenen Hauses wird unscheinbar zum Bild einer neuen Bürgerlichkeit und macht die Inszeniertheit der Szenen deutlich. | ||
| + | Reiner Bader | ||
| + | |Contexte_et_analyse_en="On the way home." Like the other panels in this short film, the film's first tablet has been greened and in the right corner the filmmaker's initials Dr. E.M., the dentist Dr. Martin, cab ve seen. The small group in festive clothing walks through the forest path called the 'main road', which - seen from above - runs diagonally through a bare winter forest. Writing boards and conscious composition of pictures - the short family film from the late 1920s makes reference to the tradition of silent film. And he uses the medium of film to stage bourgeois awareness. Because at that time only wealthier families could afford the expensive hobby of film. | ||
| + | "Arrived home! First Walter with his mother. ”The next subtitle precedes a picture that takes the people from the top of the house entrance. The setting is precisely arranged to show an action that is presented to the camera. Walter and his mother smile up the stairs with the massive wooden railing. A look at the camera is allowed - in contrast to the feature film and indicates a self-confidence that can be seen. Scenes from a wedding stand side by side as small miniatures - and in this way also demonstrate the new sovereignty of the bourgeois class in the 1920s. | ||
| + | After the collapse of the monarchy, in a Weimar republic that was about to enter industrial modernity, the bourgeois system now took precedence. Free time has been a free space for the bourgeoisie since the 18th century, in which, in the ideal of 'education', one could assert a universal claim to the bourgeois lifestyle. Filming yourself, especially on public holidays, has developed into a new opportunity to embody the special that this lifestyle - in addition to the discipline at work - required. | ||
| + | The identity as a family as well as a class could be reflected in a cinematic medium that not only offered the possibility of documenting in moving images - the tradition of silent film also provided a repertoire of staging that accommodated the playful self-expression. The silent film gave the individual scenes - as in slapstick - their own weight, which could make them a small 'attraction'. In the private film about the wedding celebration, the scenes also have their own independence, which makes them a scope for self-confidence. The 'old' medium of photography changes when the party poses in the garden. The incessant movement presents the creation of the group picture in a kind of slapstick - two tall men on the sides, the children in the sailor suit in the middle. "Fidele recovery from the hard work of the feast": The subtitle ironically resolves the contrast between work and leisure. | ||
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| + | The cinematic stage proves to be a space in which one can act differently - in an expressive manner that is part of the middle-class educational tradition. So Mr. Paulus looks through the telescope of childhood, which is a children's toilet chair. A gentleman with a top hat smiles deeply into the camera - the tablet indicates the amount of wine that the “Wacht am Rhein” evokes, the song that was an unofficial national anthem in the empire: “Dear fatherland may be calm.” And Josef tells - so the next tablet - in its own way from the trips to England: sitting silently with a cheeky look and a sailor's hat. The border with the silly is also open. | ||
| + | The film camera creates a space between spontaneity and self-control in which facets of the commonplace emerge. The bridal couple smiles at the camera in the half-close, gives something to see in the film that would disappear in the photo - and in this short duration suggests something that they can only bring themselves out in their new middle class. And the following scene - the freshly baked husband demonstratively drinks a schnapps with two gentlemen - stands out as a staged act, with which not only the wedding ritual but also a social class is constituted. | ||
| + | The picture arch of the wedding scenes continues to form when the wedding party gets out of a limousine. A single lady who wants to spontaneously follow the wedding couple is asked to comply with the convention - the bride and groom are first followed by the couples. The small film proves to be a media showroom for both, for the bourgeois orientation towards order, which also determines the class consciousness, as well as for the crossing of borders in expressive self-expression. He shows the contradictions of the middle class by holding them together in moving pictures. | ||
| + | The expressive can also go into everyday life in the new medium if the family of five presents themselves in the garden in the end. When arranging the group picture, they are playfully confident - one of the boys demonstrates military issues with a wooden rifle. And just showing yourself in the windows of your own house becomes inconspicuously a picture of a new bourgeoisie and makes the staged scenes clear. | ||
Reiner Bader | Reiner Bader | ||
}} | }} | ||
Version actuelle datée du 15 avril 2020 à 14:12
Résumé
Contexte et analyse
"On the way home." Like the other panels in this short film, the film's first tablet has been greened and in the right corner the filmmaker's initials Dr. E.M., the dentist Dr. Martin, cab ve seen. The small group in festive clothing walks through the forest path called the 'main road', which - seen from above - runs diagonally through a bare winter forest. Writing boards and conscious composition of pictures - the short family film from the late 1920s makes reference to the tradition of silent film. And he uses the medium of film to stage bourgeois awareness. Because at that time only wealthier families could afford the expensive hobby of film.
"Arrived home! First Walter with his mother. ”The next subtitle precedes a picture that takes the people from the top of the house entrance. The setting is precisely arranged to show an action that is presented to the camera. Walter and his mother smile up the stairs with the massive wooden railing. A look at the camera is allowed - in contrast to the feature film and indicates a self-confidence that can be seen. Scenes from a wedding stand side by side as small miniatures - and in this way also demonstrate the new sovereignty of the bourgeois class in the 1920s.
After the collapse of the monarchy, in a Weimar republic that was about to enter industrial modernity, the bourgeois system now took precedence. Free time has been a free space for the bourgeoisie since the 18th century, in which, in the ideal of 'education', one could assert a universal claim to the bourgeois lifestyle. Filming yourself, especially on public holidays, has developed into a new opportunity to embody the special that this lifestyle - in addition to the discipline at work - required.
The identity as a family as well as a class could be reflected in a cinematic medium that not only offered the possibility of documenting in moving images - the tradition of silent film also provided a repertoire of staging that accommodated the playful self-expression. The silent film gave the individual scenes - as in slapstick - their own weight, which could make them a small 'attraction'. In the private film about the wedding celebration, the scenes also have their own independence, which makes them a scope for self-confidence. The 'old' medium of photography changes when the party poses in the garden. The incessant movement presents the creation of the group picture in a kind of slapstick - two tall men on the sides, the children in the sailor suit in the middle. "Fidele recovery from the hard work of the feast": The subtitle ironically resolves the contrast between work and leisure.
The cinematic stage proves to be a space in which one can act differently - in an expressive manner that is part of the middle-class educational tradition. So Mr. Paulus looks through the telescope of childhood, which is a children's toilet chair. A gentleman with a top hat smiles deeply into the camera - the tablet indicates the amount of wine that the “Wacht am Rhein” evokes, the song that was an unofficial national anthem in the empire: “Dear fatherland may be calm.” And Josef tells - so the next tablet - in its own way from the trips to England: sitting silently with a cheeky look and a sailor's hat. The border with the silly is also open. The film camera creates a space between spontaneity and self-control in which facets of the commonplace emerge. The bridal couple smiles at the camera in the half-close, gives something to see in the film that would disappear in the photo - and in this short duration suggests something that they can only bring themselves out in their new middle class. And the following scene - the freshly baked husband demonstratively drinks a schnapps with two gentlemen - stands out as a staged act, with which not only the wedding ritual but also a social class is constituted. The picture arch of the wedding scenes continues to form when the wedding party gets out of a limousine. A single lady who wants to spontaneously follow the wedding couple is asked to comply with the convention - the bride and groom are first followed by the couples. The small film proves to be a media showroom for both, for the bourgeois orientation towards order, which also determines the class consciousness, as well as for the crossing of borders in expressive self-expression. He shows the contradictions of the middle class by holding them together in moving pictures. The expressive can also go into everyday life in the new medium if the family of five presents themselves in the garden in the end. When arranging the group picture, they are playfully confident - one of the boys demonstrates military issues with a wooden rifle. And just showing yourself in the windows of your own house becomes inconspicuously a picture of a new bourgeoisie and makes the staged scenes clear.
Reiner BaderLieux ou monuments
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
