Philippsburger Spargel (LFS01406) : Différence entre versions
| Ligne 53 : | Ligne 53 : | ||
ZT: und zum Schluß in Blechdosen sterilisiert. | ZT: und zum Schluß in Blechdosen sterilisiert. | ||
Kochendes Wasser in einem Kessel. | Kochendes Wasser in einem Kessel. | ||
| + | |Contexte_et_analyse_en=The film's first shot seems to have been composed correctly. The long lines of asparagus field run diagonally in the foreground, in the background the sky is large on the horizon line. It is almost a small world that the harvesters enter from both sides, looking down, looking for the fine cracks in the earth that indicate the ripe asparagus. The film about the Philippsburger asparagus harvest of 1938 looks quite professional in image design and montage - a documentary in the narrower sense, less an amateur film. The subtitles contribute to this impression. | ||
| + | |||
| + | "Philippsburger asparagus - a delicacy", so it says confidently right from the start - a tradition of cultivation, which is now no longer continued. The film jumps from the long shot of the landscape to the close-up, shows the stinging of the asparagus spears - and again the image section is deliberately designed with a view of the earth's surface. "Modern layouts in 'lines'": The subtitle indicates a sense of progress before an old woman can be seen in the half-close-up, who is digging up the asparagus with difficulty - a picture that also points to a social aspect in his poetry. | ||
| + | |||
| + | "'Heap cultures' are out of date": The next writing board takes a stand against the heap of cultivation - and once again offers the opportunity to take pictures of the landscape. The pictures of the further work steps also indicate something of the magic of a rural culture: three women cut the asparagus on a meadow with a tree in the background, and the transport is carried out with the bicycle basket or trailer. It remains open whether the National Socialist ideology resonates in this presentation, which deliberately stages simple rural life. | ||
| + | |||
| + | "The asparagus building cooperative is busy ...": The written explanation opens a new sequence. To fill the image, the harvest helpers crowd the scales in front of the asparagus hall. Weighing is approaching in a close-up, followed by a slow pan that seems to scan the visible. Close-ups fix the individual - such as a woman with a headscarf in her movement from weighing the asparagus to entering the list. Another pan isolates things in their optical weight, letting the film develop its own attention to the visual more and more: baskets full of asparagus standing next to and on top of each other are filmed from above - and the surfaces of the basket material, the asparagus spears and the ground show themselves between light and shadow. A stretched look is noticeable, which persists even when the crowd on the scales is subsequently shown from the back: In the partial shade, people and things can now be seen between the sunspots. | ||
| + | |||
| + | "Payday is important!" The employee's arms remain in the semi-darkness when paying, before a gaze attaches to the one-of-a-kind of a grumbling old man whose gestures speak for themselves - and which make the bystanders laugh. Then the camera is back inside the registration table, where it is darker and the sun's rays that come in from outside throw light spots on the waiting crowd. Once again, it is a cautious panning shot from above that creates its own visuality - and allows people and things to emerge in fragments from the dark. | ||
| + | |||
| + | "In the canning factory ...": A group of workers peeling asparagus makes the division of labor clear - and yet it is more. In their uniform movements, the women become the “picture” of a group, they also show themselves for the camera that they sometimes look at. The automatic sorting machine in the next setting is also not only a symbol of technical progress, but also staged in a contrasting light that can be recognized as a stylistic device of the film: In the background, a light line falls through the door, so that the movement of the sorting machine in the foreground almost appears in the abstract between light and dark. | ||
| + | |||
| + | The workers who sort by hand also gradually stand out in the dark, and the asparagus in front of them on the table is the bright contrast in a moving image, in which the surface dimension is involved and, so to speak, keeps the visible in suspense. In the last step - boiling the asparagus in tubs - the scene is initially barely recognizable because of the darkness until the large rectangular spot of light makes the tub stand out in the room. And in the close-up at the end, the tin kettle remains between light and dark, between concrete and abstract. The sober process of steam and spoon sterilization turns into the visual intensity of an image that could have come from an expressionist film. | ||
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Version du 31 mars 2020 à 15:37
Résumé
Description
TC: 10:00:00
Eine Delikatesse: Philippsburger Spargel.
ZT: ...und ackern denselben Boden
Zwei Frauen und ein Mann laufen mit Körben durch Spargelreihen, legen die Spargel von der Erde frei und stechen sie.
Spargel wird ausgegraben und gestochen (nah), v.E. Spargel wird in einen Korb gelegt und das Loch im Spargelhügel geglättet.
ZT: Moderne Anlagen in "Zeilen"
Arbeiter beim Spargelstechen zwischen den Reihen, stechen Spargel und verschließen die Löcher.
TC: 10:03:00
ZT: "Haufenkulturen" sind veraltet
Arbeiterinnen stechen Spargel auf einem Feld mit kleinen Hügeln.
ZT: Spargelstechen das Geschäft der Saison
Arbeiterinnen stechen Spargel.
Arbeiterinnen beim Spargelputzen am Rande des Feldes, laden Spargelkörbe auf einen Karren. Fahrrad wird vor den Karren gespannt.
Familie bei der Spargelernte auf einem Feld. Frau mit Spargelkorb auf einem Fahrrad.
TC: 10:05:45
ZT: Bei der Spargelbau-Genossenschaft herrscht Betrieb...
Spargel wird auf Waage gestapelt und gewogen. Wartende Menschen. Schwenk über Spargelkörbe. Spargel wird abgewogen, v.E., wartende Menschen.
TC: 10:09:53
ZT: Der Zahltag ist wichtig!
Geld wird abgezählt.
ZT: Er ist nicht ganz zufrieden...
Mann mit Pfeife und Hut, wartende Menschen. Mitarbeiter der Spargelbau-Genossenschaft vor ihren Büchern, wartende Menschen, Lastwagen fährt los.
ZT: In der Konservenfabrik...
Frauen beim Spargelschälen.
ZT: Die Spargel werden gereinigt und geschält
Spargel wird auf ein sich rüttelndes Gitter geleert.
TC: 10:13:09
ZT: Eine automatische Sortiermaschine
Frauen sortieren den Spargel nach der Größe.
ZT: In großen Bottichen werden die Konservenspargel abgekocht...
Spargel wird in kochendes Wasser geschüttet.
ZT: und zum Schluß in Blechdosen sterilisiert.
Kochendes Wasser in einem Kessel.
Contexte et analyse
The film's first shot seems to have been composed correctly. The long lines of asparagus field run diagonally in the foreground, in the background the sky is large on the horizon line. It is almost a small world that the harvesters enter from both sides, looking down, looking for the fine cracks in the earth that indicate the ripe asparagus. The film about the Philippsburger asparagus harvest of 1938 looks quite professional in image design and montage - a documentary in the narrower sense, less an amateur film. The subtitles contribute to this impression.
"Philippsburger asparagus - a delicacy", so it says confidently right from the start - a tradition of cultivation, which is now no longer continued. The film jumps from the long shot of the landscape to the close-up, shows the stinging of the asparagus spears - and again the image section is deliberately designed with a view of the earth's surface. "Modern layouts in 'lines'": The subtitle indicates a sense of progress before an old woman can be seen in the half-close-up, who is digging up the asparagus with difficulty - a picture that also points to a social aspect in his poetry.
"'Heap cultures' are out of date": The next writing board takes a stand against the heap of cultivation - and once again offers the opportunity to take pictures of the landscape. The pictures of the further work steps also indicate something of the magic of a rural culture: three women cut the asparagus on a meadow with a tree in the background, and the transport is carried out with the bicycle basket or trailer. It remains open whether the National Socialist ideology resonates in this presentation, which deliberately stages simple rural life.
"The asparagus building cooperative is busy ...": The written explanation opens a new sequence. To fill the image, the harvest helpers crowd the scales in front of the asparagus hall. Weighing is approaching in a close-up, followed by a slow pan that seems to scan the visible. Close-ups fix the individual - such as a woman with a headscarf in her movement from weighing the asparagus to entering the list. Another pan isolates things in their optical weight, letting the film develop its own attention to the visual more and more: baskets full of asparagus standing next to and on top of each other are filmed from above - and the surfaces of the basket material, the asparagus spears and the ground show themselves between light and shadow. A stretched look is noticeable, which persists even when the crowd on the scales is subsequently shown from the back: In the partial shade, people and things can now be seen between the sunspots.
"Payday is important!" The employee's arms remain in the semi-darkness when paying, before a gaze attaches to the one-of-a-kind of a grumbling old man whose gestures speak for themselves - and which make the bystanders laugh. Then the camera is back inside the registration table, where it is darker and the sun's rays that come in from outside throw light spots on the waiting crowd. Once again, it is a cautious panning shot from above that creates its own visuality - and allows people and things to emerge in fragments from the dark.
"In the canning factory ...": A group of workers peeling asparagus makes the division of labor clear - and yet it is more. In their uniform movements, the women become the “picture” of a group, they also show themselves for the camera that they sometimes look at. The automatic sorting machine in the next setting is also not only a symbol of technical progress, but also staged in a contrasting light that can be recognized as a stylistic device of the film: In the background, a light line falls through the door, so that the movement of the sorting machine in the foreground almost appears in the abstract between light and dark.
The workers who sort by hand also gradually stand out in the dark, and the asparagus in front of them on the table is the bright contrast in a moving image, in which the surface dimension is involved and, so to speak, keeps the visible in suspense. In the last step - boiling the asparagus in tubs - the scene is initially barely recognizable because of the darkness until the large rectangular spot of light makes the tub stand out in the room. And in the close-up at the end, the tin kettle remains between light and dark, between concrete and abstract. The sober process of steam and spoon sterilization turns into the visual intensity of an image that could have come from an expressionist film.Lieux ou monuments
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
