Difference between revisions of "Schulanfang Mädchenschule (LFS 01421 6)"

 
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|lieuTournage=49.23116, 8.46072
 
|lieuTournage=49.23116, 8.46072
 
|thematique=Body and Health@ Sport@ Identity@ Traditions@ Rural life
 
|thematique=Body and Health@ Sport@ Identity@ Traditions@ Rural life
 +
|Resume_de=Schulanfang, Mädchenberufsschule bei Gartenarbeit, Schulsportfest
 
|Resume_en=Beginning of elementary school and garden work at a school for Girls.
 
|Resume_en=Beginning of elementary school and garden work at a school for Girls.
|Resume_de=Schulanfang, Mädchenberufsschule bei Gartenarbeit, Schulsportfest
+
|Contexte_et_analyse_fr=Le photographe s’avance, son appareil photo à flash autour du cou, et se tourne vers l’école pour prendre en photo les élèves qui sortent par la porte. Il jette un regard en passant à la caméra, positionnée non loin de là. Le photographe et le cinéaste amateur se rencontrent : le premier est maintenant lui-même à l’image et commence à prendre des photos de cette première journée d'école à la Hieronymus Nopp de Philippsburg – rentrée qui, en 1962, se fait encore en avril.
|Contexte_et_analyse_en=The photographer walks to the front, the camera with the flashlight hung around his neck, turns around to the schoolhouse to shoot photos of the first grade who come straight out of the school door. He looks casually into the film camera, which is positioned not far away. Photographer and amateur filmmaker meet: The first is now in the picture, as he attaches to making pictures, to the photos from the first day of school in the Philippsburg Jerome Nopp School, which was still in April in the year 1962.
 
 
 
To date, notwithstanding the new digital recording techniques, not much has changed in the photos of that special day. Not to be missed is the portrait shot with the school bag in her arm - it represents an important turning point in the life story. The education system and pedagogy have changed. In 1964, Georg Picht's book on the "German educational catastrophe" triggered an educational revolution. Elementary schools and high schools in their surviving form stood for a school system that, in the absence of equal opportunities, confirmed the class structure of society. Above all, however, the educational ideals had nothing to do with the presence of bourgeois modernity and the demands of a changing labor market. The child at school was a kind of subject whose will had to be broken. Virtues such as discipline, diligence and obedience were at the top of the list: Memorizing and writing, pawing and standing in the corner shape the image of the school as disciplinary power.
 
  
Does the amateur film show more and more from the beginning of the school than photos from the same event? The children come out of the darkness of the school door, first students of the higher classes, two of them beat drums in the front. The teacher at her side immediately stands out in the medium shot: in a dark suit and with papers in his hand, he looks carefully back to disappear with the group of older pupils from the picture. Now the first graders with the school bag appear in the door: walking next to each other, some hold each other's hands. After a cut, she gets the camera in the foreground in the half-close approach - until in the background, the young teacher with the girl class draws the eye on itself: In the bright costume, she leads the girls with a calm gesture down the stairs, before after a cut alone into the picture comes and lets pass the camera.
+
Malgré les nouvelles techniques de prise de vue numérique, peu de choses ont changé depuis cette époque dans les photos de rentrée. Les portraits des élèves de CP tenant leur cornet surprise reçu pour l’occasion sont incontournables : l’objet représente une étape décisive dans leur parcours. En revanche, le système éducatif et la pédagogie se sont transformés. En 1964, le livre de Georg Picht sur la « catastrophe éducative allemande » déclenche une révolution dans ces domaines. Les Volksschulen (écoles primaires et collèges) et les Gymnasien (lycées) hérités du passé incarnent un système scolaire qui conforte les hiérarchies sociales, faute de garantir l’égalité des chances. Mais surtout, leurs idéaux pédagogiques n’ont plus rien à voir avec la réalité de la classe moyenne moderne ou les exigences d’un marché du travail en mutation. L’écolier d’autrefois était un sujet dont il fallait briser la volonté. Les vertus telles que la discipline, l’assiduité et l’obéissance avaient la préséance : l’apprentissage par cœur, la calligraphie, les châtiments corporels et les punitions au coin ont façonnée une image de l’école comme pouvoir disciplinaire.
  
The movement of the children has come into flux and shows up as the familiar image of starting school. The teachers prove to be the 'good shepherds', they have a 'herd' that is willing to be guided. Power relationships are inconspicuously reflected in leadership relationships - and become visible in the scene in the 'image' of shepherd and herd. The movement of the first graders out of school becomes a kind of procession with which the authoritarian pedagogy of the time disappears in the appearance of a pastoral ritual.
+
Ce film amateur montrerait-il davantage de cette rentrée que ne le feraient des photos ? Les enfants émergent de l’obscurité de la porte de l’école – d’abord ceux des grandes classes, à commencer par deux garçons qui battent le tambour. L’enseignant à leurs côtés se démarque immédiatement dans ce plan de demi-ensemble : en costume sombre et avec des papiers à la main, il regarde attentivement en arrière, puis disparaît du cadre en même temps que le groupe d’élèves plus âgés. C’est au tour des CP d’apparaître dans l’encadrement, avec leurs pochettes surprises (Schultüte). En rang par deux, beaucoup se tiennent la main. Après un raccord, la caméra les place au premier plan dans un plan moyen, jusqu’à ce que le regard du spectateur soit attiré par une jeune enseignante accompagnée d’une classe de filles à l’arrière-plan. Vêtue d’un tailleur clair, elle fait descendre les écolières calmement par les marches avant de se retrouver seule à l’image dans un nouveau plan et de passer sereinement devant la caméra.  
  
The movement of the group coagulates into individual images that emerge from the river, as well as the attitude with the young teacher in the white costume - and finally the image of the mothers who step out of the school door behind the second girl class. In the background, other buildings become visible as they approach the camera after a cut behind the children. The ordered movement of the group dissolves, turning the settings into scenes, to 'appearances' of those reacting to the presence of the camera. With two women who talk, it remains with a curt gesture towards amateur film. A gentleman with children behind reacts more strongly, raises his hand in greeting and speaks into the camera. The moving images gather together the scenes of a 'performance', which now also reveals the performance character that was still obscured in the scenes of the first year's turn. A movement that at first produced a picture of shepherds and herd becomes a movement of the performance of individual scenes, which eventually leads to the demolition of the film: a gentleman in a group of three points with jovial gesture to his neighbor, speaks in the direction of the camera, then to approach the amateur filmmaker who can not continue filming in this situation.
+
Le mouvement des enfants est fluide, et présente une image familière de la rentrée. Les enseignants s’avèrent être les « bons bergers » conduisant un « troupeau » qui se laisse volontairement guider. Les relations de pouvoir se discernent discrètement dans cet exercice de l’autorité, se matérialisant ici par cette « image » des bergers et du troupeau. La sortie des élèves de CP devient une sorte de procession, durant laquelle la pédagogie autoritaire de l’époque se dissout dans l’apparence d’un rituel pastoral.
  
This amateur movie not only depicts the scenes from the first day of school. He transforms them into a 'stage' for those involved, into the movement of a performance that is no longer controllable for the amateur filmmaker. The following pictures from the garden of the Philippsburger School for working girls, pictures of the plantings in the strictly arranged beds, also seem like an attempt to bring a little bit of order to the film.
+
Par moments, cette marche processionnelle se fige, tandis que des images individuelles émergent de cette affluence – comme le plan montrant la jeune enseignante en tailleur blanc ou l’image des mères qui sortent par la porte de l’école, derrière la deuxième classe de filles. D’autres bâtiments deviennent visibles à l’arrière-plan, derrière les enfants, après un nouveau changement de perspective. Le cortège ordonné se délite lorsque les plans se transforment en séquences, en petites « représentations » données par les protagonistes qui réagissent à la présence de la caméra. Les deux femmes qui discutent se contentent d’un petit geste en direction du cameraman amateur. Un homme suivi d’enfants réagit plus vivement, lève la main pour saluer et s’adresse à la caméra. Les images maintiennent une cohérence entre les différentes scènes de cette « représentation », qui mettent désormais en avant cette dimension jouée, encore masquée dans la première séquence montrant le cortège des CP. Là où l'afflux évoquait tout à l’heure des bergers et un troupeau, la dynamique relie à présent des scènes individuelles, ce qui conduit finalement à l’interruption du film : un homme dans un groupe de trois personnes montre jovialement son voisin et dit quelque chose à l’attention de la caméra, puis s’approche du cameraman, qui ne peut dès lors plus filmer.  
  
Reiner Bader
+
Ce film ne se contente pas de montrer des scènes de rentrée scolaire. Il fait de cette journée une « scène » pour ses participants, et lui donne la dynamique d’un spectacle dont le cinéaste amateur finit par perdre le contrôle. Les images qui suivent, tournées dans le jardin de l’école professionnelle de filles de Philippsburg, montrent des plantations dans des plates-bandes au cordeau, probablement une tentative d'ordonner le film.
 
|Contexte_et_analyse_de=Der Fotograf geht nach vorne, den Fotoapparat mit dem Blitzlicht um den Hals gehängt, dreht sich um zum Schulhaus, um Fotos von den Erstklässlern zu schießen, die gleich aus der Schultür kommen. Er schaut beiläufig in die Filmkamera, die unweit positioniert ist. Fotograf und Amateurfilmer begegnen sich: Der Erste ist jetzt selbst im Bild, wie er zum Bildermachen ansetzt, zu den Fotos vom ersten Schultag in der Philippsburger Hieronymus-Nopp-Schule, der im Jahr 1962 noch im April lag.
 
|Contexte_et_analyse_de=Der Fotograf geht nach vorne, den Fotoapparat mit dem Blitzlicht um den Hals gehängt, dreht sich um zum Schulhaus, um Fotos von den Erstklässlern zu schießen, die gleich aus der Schultür kommen. Er schaut beiläufig in die Filmkamera, die unweit positioniert ist. Fotograf und Amateurfilmer begegnen sich: Der Erste ist jetzt selbst im Bild, wie er zum Bildermachen ansetzt, zu den Fotos vom ersten Schultag in der Philippsburger Hieronymus-Nopp-Schule, der im Jahr 1962 noch im April lag.
  
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Dieser Amateurfilm bildet die Szenen vom ersten Schultag nicht nur ab. Er verwandelt sie in eine ‚Bühne‘ für die Beteiligten, in die Bewegung einer Aufführung, die für den Amateurfilmer zuletzt nicht mehr kontrollierbar ist. Die folgenden Aufnahmen aus dem Garten der Philippsburger Mädchenberufsschule, Bilder von den Pflanzungen in den streng angeordneten Beeten, wirken so auch wie ein Versuch, noch einmal ein wenig Ordnung in den Film zu bringen.   
 
Dieser Amateurfilm bildet die Szenen vom ersten Schultag nicht nur ab. Er verwandelt sie in eine ‚Bühne‘ für die Beteiligten, in die Bewegung einer Aufführung, die für den Amateurfilmer zuletzt nicht mehr kontrollierbar ist. Die folgenden Aufnahmen aus dem Garten der Philippsburger Mädchenberufsschule, Bilder von den Pflanzungen in den streng angeordneten Beeten, wirken so auch wie ein Versuch, noch einmal ein wenig Ordnung in den Film zu bringen.   
 +
 +
Reiner Bader
 +
|Contexte_et_analyse_en=The photographer walks to the front, the camera with the flashlight hung around his neck, turns around to the schoolhouse to shoot photos of the first grade who come straight out of the school door. He looks casually into the film camera, which is positioned not far away. Photographer and amateur filmmaker meet: The first is now in the picture, as he attaches to making pictures, to the photos from the first day of school in the Philippsburg Jerome Nopp School, which was still in April in the year 1962.
 +
 +
To date, notwithstanding the new digital recording techniques, not much has changed in the photos of that special day. Not to be missed is the portrait shot with the school bag in her arm - it represents an important turning point in the life story. The education system and pedagogy have changed. In 1964, Georg Picht's book on the "German educational catastrophe" triggered an educational revolution. Elementary schools and high schools in their surviving form stood for a school system that, in the absence of equal opportunities, confirmed the class structure of society. Above all, however, the educational ideals had nothing to do with the presence of bourgeois modernity and the demands of a changing labor market. The child at school was a kind of subject whose will had to be broken. Virtues such as discipline, diligence and obedience were at the top of the list: Memorizing and writing, pawing and standing in the corner shape the image of the school as disciplinary power.
 +
 +
Does the amateur film show more and more from the beginning of the school than photos from the same event? The children come out of the darkness of the school door, first students of the higher classes, two of them beat drums in the front. The teacher at her side immediately stands out in the medium shot: in a dark suit and with papers in his hand, he looks carefully back to disappear with the group of older pupils from the picture. Now the first graders with the school bag appear in the door: walking next to each other, some hold each other's hands. After a cut, she gets the camera in the foreground in the half-close approach - until in the background, the young teacher with the girl class draws the eye on itself: In the bright costume, she leads the girls with a calm gesture down the stairs, before after a cut alone into the picture comes and lets pass the camera.
 +
 +
The movement of the children has come into flux and shows up as the familiar image of starting school. The teachers prove to be the 'good shepherds', they have a 'herd' that is willing to be guided. Power relationships are inconspicuously reflected in leadership relationships - and become visible in the scene in the 'image' of shepherd and herd. The movement of the first graders out of school becomes a kind of procession with which the authoritarian pedagogy of the time disappears in the appearance of a pastoral ritual.
 +
 +
The movement of the group coagulates into individual images that emerge from the river, as well as the attitude with the young teacher in the white costume - and finally the image of the mothers who step out of the school door behind the second girl class. In the background, other buildings become visible as they approach the camera after a cut behind the children. The ordered movement of the group dissolves, turning the settings into scenes, to 'appearances' of those reacting to the presence of the camera. With two women who talk, it remains with a curt gesture towards amateur film. A gentleman with children behind reacts more strongly, raises his hand in greeting and speaks into the camera. The moving images gather together the scenes of a 'performance', which now also reveals the performance character that was still obscured in the scenes of the first year's turn. A movement that at first produced a picture of shepherds and herd becomes a movement of the performance of individual scenes, which eventually leads to the demolition of the film: a gentleman in a group of three points with jovial gesture to his neighbor, speaks in the direction of the camera, then to approach the amateur filmmaker who can not continue filming in this situation.
 +
 +
This amateur movie not only depicts the scenes from the first day of school. He transforms them into a 'stage' for those involved, into the movement of a performance that is no longer controllable for the amateur filmmaker. The following pictures from the garden of the Philippsburger School for working girls, pictures of the plantings in the strictly arranged beds, also seem like an attempt to bring a little bit of order to the film.
  
 
Reiner Bader
 
Reiner Bader
 
}}
 
}}

Latest revision as of 12:07, 22 March 2021


Warning[1]

Abstract


Beginning of elementary school and garden work at a school for Girls.

Metadata

Reference / film number :  LFS 01421 6
Date :  1962
Coloration :  Color
Sound :  Mute
Running time :  00:02:22
Reel format :  8 mm
Genre :  Amateur movie
Thematics :  Body and Health, Sport, Identity, Traditions, Rural life
Archive :  Haus des Dokumentarfilms

Context and analysis


The photographer walks to the front, the camera with the flashlight hung around his neck, turns around to the schoolhouse to shoot photos of the first grade who come straight out of the school door. He looks casually into the film camera, which is positioned not far away. Photographer and amateur filmmaker meet: The first is now in the picture, as he attaches to making pictures, to the photos from the first day of school in the Philippsburg Jerome Nopp School, which was still in April in the year 1962.

To date, notwithstanding the new digital recording techniques, not much has changed in the photos of that special day. Not to be missed is the portrait shot with the school bag in her arm - it represents an important turning point in the life story. The education system and pedagogy have changed. In 1964, Georg Picht's book on the "German educational catastrophe" triggered an educational revolution. Elementary schools and high schools in their surviving form stood for a school system that, in the absence of equal opportunities, confirmed the class structure of society. Above all, however, the educational ideals had nothing to do with the presence of bourgeois modernity and the demands of a changing labor market. The child at school was a kind of subject whose will had to be broken. Virtues such as discipline, diligence and obedience were at the top of the list: Memorizing and writing, pawing and standing in the corner shape the image of the school as disciplinary power.

Does the amateur film show more and more from the beginning of the school than photos from the same event? The children come out of the darkness of the school door, first students of the higher classes, two of them beat drums in the front. The teacher at her side immediately stands out in the medium shot: in a dark suit and with papers in his hand, he looks carefully back to disappear with the group of older pupils from the picture. Now the first graders with the school bag appear in the door: walking next to each other, some hold each other's hands. After a cut, she gets the camera in the foreground in the half-close approach - until in the background, the young teacher with the girl class draws the eye on itself: In the bright costume, she leads the girls with a calm gesture down the stairs, before after a cut alone into the picture comes and lets pass the camera.

The movement of the children has come into flux and shows up as the familiar image of starting school. The teachers prove to be the 'good shepherds', they have a 'herd' that is willing to be guided. Power relationships are inconspicuously reflected in leadership relationships - and become visible in the scene in the 'image' of shepherd and herd. The movement of the first graders out of school becomes a kind of procession with which the authoritarian pedagogy of the time disappears in the appearance of a pastoral ritual.

The movement of the group coagulates into individual images that emerge from the river, as well as the attitude with the young teacher in the white costume - and finally the image of the mothers who step out of the school door behind the second girl class. In the background, other buildings become visible as they approach the camera after a cut behind the children. The ordered movement of the group dissolves, turning the settings into scenes, to 'appearances' of those reacting to the presence of the camera. With two women who talk, it remains with a curt gesture towards amateur film. A gentleman with children behind reacts more strongly, raises his hand in greeting and speaks into the camera. The moving images gather together the scenes of a 'performance', which now also reveals the performance character that was still obscured in the scenes of the first year's turn. A movement that at first produced a picture of shepherds and herd becomes a movement of the performance of individual scenes, which eventually leads to the demolition of the film: a gentleman in a group of three points with jovial gesture to his neighbor, speaks in the direction of the camera, then to approach the amateur filmmaker who can not continue filming in this situation.

This amateur movie not only depicts the scenes from the first day of school. He transforms them into a 'stage' for those involved, into the movement of a performance that is no longer controllable for the amateur filmmaker. The following pictures from the garden of the Philippsburger School for working girls, pictures of the plantings in the strictly arranged beds, also seem like an attempt to bring a little bit of order to the film.

Reiner Bader

Places and monuments


Philippsburg



  1. This film analysis is still in progress. It may therefore be incomplete and contain errors.