Difference between revisions of "Weißer Sonntag (LFS01413 4)"

 
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|lieuTournage=49.23567, 8.45223
 
|lieuTournage=49.23567, 8.45223
 
|thematique=Identity@ Traditions@ Religious feasts and events
 
|thematique=Identity@ Traditions@ Religious feasts and events
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|Resume_de=Weißer Sonntag und Kommunion der katholischen Kinder.
 
|Resume_en=Communion procession in Philippsburg 1957.
 
|Resume_en=Communion procession in Philippsburg 1957.
|Resume_de=Weißer Sonntag und Kommunion der katholischen Kinder.
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|Contexte_et_analyse_fr=Une sorte de prologue ouvre le film. Un cortège d’enfants de chœur apparaît en plan large, portant les bannières ornées de symboles tout en avançant vers la caméra — le symbole alpha-oméga ou le monogramme du Christ. La scène est particulièrement lumineuse grâce au soleil et le cadrage se centre lentement sur le prêtre qui ferme le cortège et passe devant la caméra dans un plan semi-rapproché. Le décor est planté pour ce jour de première communion. Les scènes sont attendues : un rituel religieux familier, les symboles et les gestes symboliques de la procession et de la messe. 
|Contexte_et_analyse_en=It starts with a kind of foreplay. The procession of the ministrants emerges in a long shot, bearing the symbol banners in front of the camera - the Alpha Omega sign or the Christ monogram. The scene is brightly lit by the sun, and slowly the city pastor at the end of the pageant comes into focus, passing by with the group in a half-close to the camera. The scene for communion is opened. Scenes as they are known on this day, the familiar religious ritual, the symbols and symbolic acts of procession and worship.
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Dans l’Église catholique allemande, le premier dimanche après Pâques est généralement la date retenue pour les premières communions — à Philippsburg, ville majoritairement catholique, c’est un moment particulièrement fort du calendrier liturgique. Ce jour est appelé en allemand « weißer Sonntag », c’est-à-dire « dimanche blanc », un nom qui fait référence, à l’origine, à la robe blanche portée par les adultes pendant une semaine après leur baptême dans l’Église primitive. Pour les enfants âgés d’une dizaine d’années, la bénédiction des cierges de communion rappelle également le baptême et ses bougies. Renouvellement du baptême, la première communion représente l’intégration consciente dans la communauté chrétienne. Les enfants doivent avoir atteint l’âge dit « de raison », à partir duquel ils sont suffisamment mûrs pour s’interroger sur leur foi. Avec les cours de catéchisme et la préparation à la communion, ils ont acquis les connaissances de base de la foi et sont capables faire la différence entre, d’une part, le pain et le vin ordinaires, et, d’autre part, les offrandes destinées à la transsubstantiation pendant la messe. Ils ont fait leur première confession et peuvent maintenant s’approcher de la table du Seigneur pour la première fois, afin de recevoir la sainte communion.
  
The White Sunday is in the Catholic Church, the first Sunday after Easter, in which usually the First Communion takes place - especially in Philippsburg with its Catholic majority a highlight of the church year. Originally, White Sunday's name refers to the white christening gown worn by adults in the early church for a week after their baptism. Even for the children, who are about ten years old, the consecration of communion candles to the baptismal candles and to remember the baptism. First communion, with the renewal of baptism, is the conscious incorporation into the Christian community. Prerequisite for this is the so-called rational age, the age from which they are mature enough to deal with their faith. With catechesis and communion lessons, they have come to know the important contents of faith and are able to distinguish between simple bread and wine and the changed gifts of worship. They have made the first confession and can now for the first time come to the Lord's table to receive the Holy Supper.
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La scène s’ouvre avec le cortège des servants d’autel — c’est le début d’une « représentation » donnée également à l’intention de la caméra amateur. Celle-ci filme la procession, l’espace du quotidien où évolue le cortège. Elle montre la rue et les places où s’alignent les spectateurs. Elle montre aussi la procession dans sa dynamique, un mouvement par lequel l’espace du quotidien se transforme, tout en demeurant le cadre de tous les jours dans lequel se déroulent les scènes.  
  
The scene is opened with the procession of the ministrants - it is the beginning of a "performance" that takes place at the same time for the amateur film camera. This camera films the procession, she films the everyday space in which the pageant has its place. It shows the street space and the places with the spectators. It shows the procession in its movement - a movement with which the everyday space is transformed into another space and yet remains present as the everyday framework in which the scenes take place.
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Le décor est planté. Le cortège apparaît à présent en plan large, marche presque tout droit sur la caméra, trois enfants de chœur détachés devant, suivis par l’orchestre en civil. Le plan montre une grande partie de l’environnement, la rangée de maisons dans la rue au soleil, les spectateurs à droite et à gauche de la procession : l’environnement quotidien encadre le mouvement de progression au fil duquel apparaissent les communiants en chemin. Le prêtre, entre les servants d’autel, apparaît dans le plan de demi-ensemble, puis les enfants derrière lui sont montrés en plan moyen ; à l’arrière-plan, on distingue des spectateurs sur le trottoir. La procession avance dans l’espace du quotidien et c’est dans ce mouvement, pour ainsi dire, qu’elle crée son propre espace sacré. Cet entre-deux est d’autant plus visible que le plan suivant est filmé de dos : le cortège s’avance dans le cadre avant de disparaître derrière les spectateurs qui affluent dans l’image après un changement de plan. Le film montre à plusieurs reprises l’espace intermédiaire, dans lequel le quotidien devient exception : la représentation d’une procession de communion.  
  
The scene is open. Now the procession appears in a long shot, comes almost directly to the camera, ahead three ministrants and the chapel in civilian clothes. The setting shows much of the surrounding space, the escape of the street in the sunlight, the spectators to the right and to the left of the pageant: The everyday environment frames the movement of progress with which the Communion children appear on their way. The parish priest between the ministrants comes into view in the shot, the children behind in the half-close, in the background are spectators on the sidewalk. The procession progresses in the everyday space - and in this movement creates its own sacral space in a sense only. This intermediate becomes all the more visible when, in the following shot, the view changes to the rear view: The procession moves into the picture until it disappears after a cut behind the spectators who stream into the picture. Thus, the film shows time and again the space in which the everyday passes into its exception: in the performance of a communion procession.
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Si le cortège des enfants de chœur ouvre la scène comme un prologue, les communiants passent encore une fois dans le champ de la caméra en guise d’épilogue. Ils apparaissent dans plusieurs plans éloignés, dans la situation aléatoire de l’espace quotidien de ce jour. Le film ouvre encore plus sa perspective lorsque la procession n’est plus visible qu’en arrière-plan. Au premier plan, le chantier de la fontaine Philipp, avec ses barrières, nous renseigne sur l’emplacement de la caméra. L’espace cinématographique s’ouvre à cette situation du quotidien, et renvoie ainsi plus encore au cadre quotidien dans lequel la procession crée un autre espace, sacré. Fortuitement, la vue s’ouvre encore plus sur la scène de la vie quotidienne, où se déroulent les séquences de la communion. Et les enfants disparaissent presque, vus de loin, lorsqu’ils longent le monumental mur de l’église.
  
The procession of the ministrants opens the scene like a prelude, and in a kind of epilogue the communion children come into view again. In several shots they appear from a far, in the random situation of everyday life on this day. The film opens its perspective even further, when the procession is now only visible in the background. In the foreground, the construction site of the Philippsbrunnen with the barrier indicates the position of the camera. The cinematic space opens up to this situation of everyday life - and thus refers even more to the everyday context in which the procession creates a different, sacred space. By chance, the view opens even further on the stage of everyday life, on which the scenes of communion take place. And the children almost disappear as they pass by the overpowering church wall in the distance.
 
  
 
Reiner Bader
 
Reiner Bader
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Der Zug der Ministranten eröffnet die Szene wie ein Vorspiel, und in einer Art Nachspiel kommen die Kommunionkinder noch einmal in den Blick. In mehreren Totalen tauchen sie von fern auf, in der zufälligen Situation des Alltagsraumes an diesem Tag. Der Film öffnet seine Perspektive noch weiter, wenn die Prozession jetzt nur noch im Hintergrund zu sehen ist. Im Vordergrund gibt die Baustelle des Philippsbrunnens mit der Absperrung die Position der Kamera vor. Der filmische Raum öffnet sich auf diese Situation des Alltags –  und verweist so mehr noch auf den alltäglichen Rahmen, in dem die Prozession einen anderen, sakralen Raum schafft. Durch Zufall öffnet sich der Blick noch weiter auf die Bühne des Alltags, auf der sich die Szenen der Kommunion abspielen. Und die Kinder verschwinden dann fast, wenn sie in der Ferne an der übermächtigen Kirchenmauer vorbeiziehen.
 
Der Zug der Ministranten eröffnet die Szene wie ein Vorspiel, und in einer Art Nachspiel kommen die Kommunionkinder noch einmal in den Blick. In mehreren Totalen tauchen sie von fern auf, in der zufälligen Situation des Alltagsraumes an diesem Tag. Der Film öffnet seine Perspektive noch weiter, wenn die Prozession jetzt nur noch im Hintergrund zu sehen ist. Im Vordergrund gibt die Baustelle des Philippsbrunnens mit der Absperrung die Position der Kamera vor. Der filmische Raum öffnet sich auf diese Situation des Alltags –  und verweist so mehr noch auf den alltäglichen Rahmen, in dem die Prozession einen anderen, sakralen Raum schafft. Durch Zufall öffnet sich der Blick noch weiter auf die Bühne des Alltags, auf der sich die Szenen der Kommunion abspielen. Und die Kinder verschwinden dann fast, wenn sie in der Ferne an der übermächtigen Kirchenmauer vorbeiziehen.
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 +
Reiner Bader
 +
|Contexte_et_analyse_en=It starts with a kind of foreplay. The procession of the ministrants emerges in a long shot, bearing the symbol banners in front of the camera - the Alpha Omega sign or the Christ monogram. The scene is brightly lit by the sun, and slowly the city pastor at the end of the pageant comes into focus, passing by with the group in a half-close to the camera. The scene for communion is opened. Scenes as they are known on this day, the familiar religious ritual, the symbols and symbolic acts of procession and worship.
 +
 +
The White Sunday is in the Catholic Church, the first Sunday after Easter, in which usually the First Communion takes place - especially in Philippsburg with its Catholic majority a highlight of the church year. Originally, White Sunday's name refers to the white christening gown worn by adults in the early church for a week after their baptism. Even for the children, who are about ten years old, the consecration of communion candles to the baptismal candles and to remember the baptism. First communion, with the renewal of baptism, is the conscious incorporation into the Christian community. Prerequisite for this is the so-called rational age, the age from which they are mature enough to deal with their faith. With catechesis and communion lessons, they have come to know the important contents of faith and are able to distinguish between simple bread and wine and the changed gifts of worship. They have made the first confession and can now for the first time come to the Lord's table to receive the Holy Supper.
 +
 +
The scene is opened with the procession of the ministrants - it is the beginning of a "performance" that takes place at the same time for the amateur film camera. This camera films the procession, she films the everyday space in which the pageant has its place. It shows the street space and the places with the spectators. It shows the procession in its movement - a movement with which the everyday space is transformed into another space and yet remains present as the everyday framework in which the scenes take place.
 +
 +
The scene is open. Now the procession appears in a long shot, comes almost directly to the camera, ahead three ministrants and the chapel in civilian clothes. The setting shows much of the surrounding space, the escape of the street in the sunlight, the spectators to the right and to the left of the pageant: The everyday environment frames the movement of progress with which the Communion children appear on their way. The parish priest between the ministrants comes into view in the shot, the children behind in the half-close, in the background are spectators on the sidewalk. The procession progresses in the everyday space - and in this movement creates its own sacral space in a sense only. This intermediate becomes all the more visible when, in the following shot, the view changes to the rear view: The procession moves into the picture until it disappears after a cut behind the spectators who stream into the picture. Thus, the film shows time and again the space in which the everyday passes into its exception: in the performance of a communion procession.
 +
 +
The procession of the ministrants opens the scene like a prelude, and in a kind of epilogue the communion children come into view again. In several shots they appear from a far, in the random situation of everyday life on this day. The film opens its perspective even further, when the procession is now only visible in the background. In the foreground, the construction site of the Philippsbrunnen with the barrier indicates the position of the camera. The cinematic space opens up to this situation of everyday life - and thus refers even more to the everyday context in which the procession creates a different, sacred space. By chance, the view opens even further on the stage of everyday life, on which the scenes of communion take place. And the children almost disappear as they pass by the overpowering church wall in the distance.
  
 
Reiner Bader
 
Reiner Bader
 
}}
 
}}

Latest revision as of 11:25, 22 March 2021


 Warning[1]

Events filmed or related


Kommunion

Abstract


Communion procession in Philippsburg 1957.

Metadata

Reference / film number :  LFS01413 4
Date :  1957
Coloration :  Color
Sound :  Mute
Running time :  00:01:36
Reel format :  8 mm
Genre :  Amateur movie
Thematics :  Identity, Traditions, Religious feasts and events
Archive :  Haus des Dokumentarfilms

Context and analysis


It starts with a kind of foreplay. The procession of the ministrants emerges in a long shot, bearing the symbol banners in front of the camera - the Alpha Omega sign or the Christ monogram. The scene is brightly lit by the sun, and slowly the city pastor at the end of the pageant comes into focus, passing by with the group in a half-close to the camera. The scene for communion is opened. Scenes as they are known on this day, the familiar religious ritual, the symbols and symbolic acts of procession and worship.

The White Sunday is in the Catholic Church, the first Sunday after Easter, in which usually the First Communion takes place - especially in Philippsburg with its Catholic majority a highlight of the church year. Originally, White Sunday's name refers to the white christening gown worn by adults in the early church for a week after their baptism. Even for the children, who are about ten years old, the consecration of communion candles to the baptismal candles and to remember the baptism. First communion, with the renewal of baptism, is the conscious incorporation into the Christian community. Prerequisite for this is the so-called rational age, the age from which they are mature enough to deal with their faith. With catechesis and communion lessons, they have come to know the important contents of faith and are able to distinguish between simple bread and wine and the changed gifts of worship. They have made the first confession and can now for the first time come to the Lord's table to receive the Holy Supper.

The scene is opened with the procession of the ministrants - it is the beginning of a "performance" that takes place at the same time for the amateur film camera. This camera films the procession, she films the everyday space in which the pageant has its place. It shows the street space and the places with the spectators. It shows the procession in its movement - a movement with which the everyday space is transformed into another space and yet remains present as the everyday framework in which the scenes take place.

The scene is open. Now the procession appears in a long shot, comes almost directly to the camera, ahead three ministrants and the chapel in civilian clothes. The setting shows much of the surrounding space, the escape of the street in the sunlight, the spectators to the right and to the left of the pageant: The everyday environment frames the movement of progress with which the Communion children appear on their way. The parish priest between the ministrants comes into view in the shot, the children behind in the half-close, in the background are spectators on the sidewalk. The procession progresses in the everyday space - and in this movement creates its own sacral space in a sense only. This intermediate becomes all the more visible when, in the following shot, the view changes to the rear view: The procession moves into the picture until it disappears after a cut behind the spectators who stream into the picture. Thus, the film shows time and again the space in which the everyday passes into its exception: in the performance of a communion procession.

The procession of the ministrants opens the scene like a prelude, and in a kind of epilogue the communion children come into view again. In several shots they appear from a far, in the random situation of everyday life on this day. The film opens its perspective even further, when the procession is now only visible in the background. In the foreground, the construction site of the Philippsbrunnen with the barrier indicates the position of the camera. The cinematic space opens up to this situation of everyday life - and thus refers even more to the everyday context in which the procession creates a different, sacred space. By chance, the view opens even further on the stage of everyday life, on which the scenes of communion take place. And the children almost disappear as they pass by the overpowering church wall in the distance.

Reiner Bader

Places and monuments


Philippsburg



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