Difference between revisions of "Zeppelin und Autowäsche (LFS 06056 2)"

 
Line 21: Line 21:
 
|lieuTournage=47.97734, 7.8245
 
|lieuTournage=47.97734, 7.8245
 
|thematique=Industrial and cultural heritage@ Industry
 
|thematique=Industrial and cultural heritage@ Industry
 +
|Resume_de=Ein Zeppelin fliegt über Freiburg; zwei junge Männer putzen ihre Autos
 
|Resume_en=A Zeppelin flies over Freiburg; two young men are cleaning their cars.
 
|Resume_en=A Zeppelin flies over Freiburg; two young men are cleaning their cars.
|Resume_de=Ein Zeppelin fliegt über Freiburg; zwei junge Männer putzen ihre Autos
+
|Description_de=Totale: Vorüberfliegender Zeppelin / junges Paar an einem Balkon, schauen lachend in die Kamera. / Halbtotale: zwei junge Männer putzen ihre Autos. Die Wagen tragen alte Nummernschilder für Baden (IV B 49413 und IV B 70925 ). / Blick aus dem Auto auf einen der putzenden Männer. / Halbtotale: Drei Frauen stehen im Halbkreis beieinander und unterhalten sich.
 
|Description_en=Total shot: Flying Zeppelin / young couple on a balcony looking at the camera with a laugh. / Half shot: two young men are cleaning their cars. The cars carry old number plates for Baden. / View from the car to one of the cleaning men. / Half shot: Three women stand in a semicircle and talk.
 
|Description_en=Total shot: Flying Zeppelin / young couple on a balcony looking at the camera with a laugh. / Half shot: two young men are cleaning their cars. The cars carry old number plates for Baden. / View from the car to one of the cleaning men. / Half shot: Three women stand in a semicircle and talk.
|Description_de=Totale: Vorüberfliegender Zeppelin / junges Paar an einem Balkon, schauen lachend in die Kamera. / Halbtotale: zwei junge Männer putzen ihre Autos. Die Wagen tragen alte Nummernschilder für Baden (IV B 49413 und IV B 70925 ). / Blick aus dem Auto auf einen der putzenden Männer. / Halbtotale: Drei Frauen stehen im Halbkreis beieinander und unterhalten sich.
+
|Contexte_et_analyse_fr=Un zeppelin, un jeune couple et un lavage de voiture – c’est ce que montre ce petit film d’une minute environ. Il y a beaucoup d’espace entre ces quelques plans, un espace qui dans les films narratifs (documentaire) disparaît habituellement dans la continuité d’une histoire. Une sorte d’espace laissant libre cours aux associations d’idées, images d’un petit « collage » cinématographique qui nous plonge dans les fantasmes collectifs des Allemands.  
|Contexte_et_analyse_en=A Zeppelin, a young couple and a car wash - that shows this little film of about a minute. Much of the space between the few settings, a space that disappears into narrative (documentary) film in the continuity of a story. An association space in a sense, images of a small cinematic 'collage' that leads into the collective fantasies of the Germans.
+
 
 +
La caméra tournée vers le haut nous montre d’abord un plan large du ciel de Fribourg vers 1927. Un zeppelin plane, en diagonale dans l’image, et change de trajectoire après une coupe. L’apparition d’un dirigeable reste une expérience insolite, un petit événement esthétique dont l’effet est renforcé encore par l’image en mouvement. Elle peut devenir un regard sur le passé, sur l’histoire de la mentalité des Allemands, pour qui cet appareil est devenu un symbole du progrès technique quelques années plus tôt.  
  
First there is the (camera) view upwards, a shot from the Freiburg sky around 1927. A zeppelin hovers diagonally in the picture and changes direction after a cut. The appearance of an airship still has experience value, is a small aesthetic event that can be even more powerful in the moving image. And that can become a glimpse into the past, into the mentality story of the Germans, for whom this controllable aircraft had become a symbol of technical progress some years before. Ferdinand Graf von Zeppelin - a former general staff officer, who devoted himself entirely to the construction of airships in 1891 - had not only led the German aviation into a new age. , With the Zeppelin he had created a symbol of the conquest of the airspace, an object of national identification. The Zeppelin went down in the history of enthusiasm for technology, which after the accident in 1908 in Echterdingen - the "Z3" exploded - with the Zeppelin donation produced a kind of sacrificial ritual of the Germans. A new aircraft, which incidentally caught up with France's advantage in aviation. As a sublime apparition in the sky, it gained an almost mythical aura that united the nation in a tumult of enthusiasm.
+
Le comte Ferdinand von Zeppelin est un ancien officier d’état-major qui se consacre entièrement à la construction de dirigeables à partir de 1891. Il fait non seulement entrer l’aviation allemande dans une nouvelle ère, mais crée avec le zeppelin un emblème de la conquête de l’espace aérien qui va devenir un objet d’identification nationale. Le zeppelin s’inscrit historiquement dans une époque d’engouement pour la technique, qui, après la catastrophe d’Echterdingen en 1908 (l’explosion du « Z3 ») débouche sur une sorte de rituel sacrificiel des Allemands avec « l’offrande » du zeppelin. Ce nouvel aéronef va permettre de combler l’avance prise par la France en matière d’aviation. Apparition fascinante dans le ciel, il acquiert une aura presque mythique qui unit la nation dans un enthousiasme grisant.
  
The image of a Zeppelins could evoke the past, the time of a German Reich that had given way to an unstable Weimar Republic in the 1920s, which is entering industrial modernity. After the collapse of the monarchy, the bourgeois classes claim supremacy. And the amateur film also proves to be a medium for presenting the new bourgeois self-confidence: the young couple, who appears transitionless to the Zeppelin and turns hesitantly smiling into the camera on the balcony railing, seems to want to embody something of the bourgeois sense of self, that in the private film can be seen in a new way. For the bourgeoisie since the eighteenth century, free time has been a free space for those who live the difficult balance that asserts a universal claim to bourgeois lifestyle in the ideal of 'education'. To film oneself - this was also a new way to produce an individual 'picture' of oneself and to be in leisure time the 'special' that this lifestyle demanded at the same time.
+
L’image d’un zeppelin peut évoquer le passé, l’époque d’un empire allemand qui a cédé la place dans les années 1920 à une république de Weimar instable, prête à entrer dans la modernité industrielle. Après l’effondrement de la monarchie, les classes bourgeoises prennent le pas. Et ce film amateur se révèle également être un médium pour dépeindre la nouvelle assurance bourgeoise : le jeune couple à son balcon, qui apparaît sans transition après le zeppelin et se retourne avec hésitation pour sourire à la caméra, semble incarner quelque chose de l’estime de soi bourgeoise que l’on découvre sous un angle nouveau dans ce film amateur. Depuis le XVIIIe siècle, le temps libre est pour ce milieu un espace de liberté dans lequel peut se vivre ce difficile équilibre par lequel, dans l’idéal de « l’éducation », s’affirme une prétention à l’universel du mode de vie bourgeois. Se filmer, c’est aussi une nouvelle façon de produire une « image » de soi et de se montrer dans son temps libre comme l’être à part qu’exige ce mode de vie.  
  
So it seems almost consistent when the next, half-total shot of the film in the outer space in front of the house jumps to move this picture further into the individual: Two men - one of them is easy to recognize as the one from the balcony - clean their cars, in a sense, represent themselves as car owners, while the camera slides with a pan over the side-by-side cars, which are allowed on the old Baden license plate. Formerly a luxury object of the upper classes, the car should now increasingly mobilize the masses: It becomes a status symbol, in which the sense of progress of the new bourgeois buyer strata manifests itself.
+
Il semble donc presque cohérent que le plan de demi-ensemble qui suit dans le film nous transporte à l’extérieur, devant la maison, pour individualiser davantage encore cette image. Deux hommes, dont un que l’on identifie aisément comme celui du balcon, nettoient leurs automobiles. Il se présentent comme les propriétaires de ces véhicules, tandis que la caméra glisse en plan panoramique sur les deux voitures côte à côte, immatriculées au pays de Bade selon une nomenclature dépassée. Autrefois objet de luxe des classes supérieures, l’auto doit désormais mobiliser de plus en plus les masses : elle devient un symbole de statut social dans lequel se manifeste la conscience du progrès des nouveaux acheteurs de la classe moyenne supérieure.
  
The car care in front of the house turns into a small cinematic stage. The rear side window wienernd the one, slowly behind the front paneling the other, the two men take care of the surfaces of the consumer object automobile: especially its new connection with the world of women - consistently picked up in the car advertising - it in the 1920s become the subject of luxury consumption. Here, too, the claim to an individual world of feelings emerges, the downside of which is the mass production of a dawning consumer society, for which American Fordism, series production on the production line, is a model.
+
L’entretien de la voiture devant la maison se transforme en une petite scène cinématographique. Les deux hommes prennent soin des surfaces de leurs automobiles en tant qu’objets de consommation, le premier astiquant la vitre latérale arrière, tandis que l’autre émerge lentement de derrière le garde-boue avant. Dans les années 1920, la publicité se saisit du lien nouveau de l’automobile avec l’univers féminin, ce qui achève d’en faire un objet de consommation de luxe. Là encore, se manifeste la revendication d’un univers d’émotions individuel, dont le revers est la production en masse d’une société de consommation en devenir, qui s’inspire du fordisme américain et de la production en série à la chaîne.  
  
The change of attitude to the interior of the car then brings - a little surprising - a direct cut in the film, as one knows it from feature films. But the view through the windshield also refers to the cinematic medium itself, to the 'screen' of the windshield and to a view that takes possession of the living space through new streets to which cities and landscapes are to be added. The silhouette of the steering wheel evokes this 'male' look of the driver. And the owner of the car, who is now busy at the radiator, appears in the view through the glass, framed 'as in a picture. The setting allows for both to associate, the space that will be adapted in the future the car of freedom of the car, and the image of an I, which should soon connect with the identity of the German man. The small cinematic 'collage' may follow a logic of its own that adds a short shot to the 'masculine' look, barely visible, with three women talking in a semicircle: the 'feminine' look of a refined taste, now also belongs to the collective imagination of the automobile.
+
Le changement de plan qui nous conduit dans l’habitacle de la voiture constitue de façon un peu surprenante un « raccord » dans ce petit film, semblable à ceux des longs métrages. La vue à travers le pare-brise évoque également le médium cinématographique lui-même, avec « l’écran » du pare-brise et une perspective qui prend possession de l’environnement en sillonnant les nouvelles rues auxquelles les villes et les paysages sont censés s’adapter. La silhouette du volant évoque ce regard « masculin » du conducteur. Et le propriétaire de la voiture, qui s’occupe à présent du radiateur, apparaît « encadré » à travers le pare-brise comme dans un tableau. Le plan suggère à la fois l’espace qui s’adaptera sous peu à la liberté de la voiture et une image de soi qui sera bientôt étroitement liée à l’identité de l’homme allemand. Le petit « collage » cinématographique suit sa propre logique, en ajoutant encore, après ce regard « masculin », un fugace plan qui montre trois femmes discutant en demi-cercle : le regard « féminin » d’un goût raffiné qui appartient désormais lui aussi à l’imaginaire collectif de l’automobile.  
  
 
Reiner Bader
 
Reiner Bader
Line 51: Line 53:
  
 
Der Einstellungswechsel ins Innere des Wagens bringt dann – ein wenig überraschend – einen Schnitt „auf Anschluss“ in den kleinen Film, wie man es aus Spielfilmen kennt. Doch der Blick durch die Windschutzscheibe verweist zugleich auf das filmische Medium selbst, auf den ‚Bildschirm‘ der Windschutzscheibe und auf einen Blick, der den Lebensraum in Besitz nimmt durch neue Straßen, denen sich Städte und Landschaften fügen sollen. Die Silhouette des Lenkrads evoziert diesen ‚männlichen‘ Blick des Fahrers. Und der Besitzer des Wagens, der inzwischen am Kühler beschäftigt ist, erscheint im Blick durch die Scheibe ‚gerahmt‘ wie in einem Bild. Die Einstellung lässt beides assoziieren, den Raum, der in Zukunft dem Freiheitsmobil des Autos angepasst werden soll, und das Bild eines Ich, das sich alsbald eng mit der Identität des deutschen Mannes verbinden sollte. Die kleine filmische ‚Collage‘ folgt womöglich einer eigenen Logik, die dem ‚männlichen‘ Blick dann zuletzt noch, kaum sichtbar, eine kurze Einstellung mit drei Frauen hinzufügt, die sich im Halbkreis unterhalten: den ‚weiblichen‘ Blick eines verfeinerten Geschmacks, der nun ebenfalls zur kollektiven Fantasie des Automobils gehört.
 
Der Einstellungswechsel ins Innere des Wagens bringt dann – ein wenig überraschend – einen Schnitt „auf Anschluss“ in den kleinen Film, wie man es aus Spielfilmen kennt. Doch der Blick durch die Windschutzscheibe verweist zugleich auf das filmische Medium selbst, auf den ‚Bildschirm‘ der Windschutzscheibe und auf einen Blick, der den Lebensraum in Besitz nimmt durch neue Straßen, denen sich Städte und Landschaften fügen sollen. Die Silhouette des Lenkrads evoziert diesen ‚männlichen‘ Blick des Fahrers. Und der Besitzer des Wagens, der inzwischen am Kühler beschäftigt ist, erscheint im Blick durch die Scheibe ‚gerahmt‘ wie in einem Bild. Die Einstellung lässt beides assoziieren, den Raum, der in Zukunft dem Freiheitsmobil des Autos angepasst werden soll, und das Bild eines Ich, das sich alsbald eng mit der Identität des deutschen Mannes verbinden sollte. Die kleine filmische ‚Collage‘ folgt womöglich einer eigenen Logik, die dem ‚männlichen‘ Blick dann zuletzt noch, kaum sichtbar, eine kurze Einstellung mit drei Frauen hinzufügt, die sich im Halbkreis unterhalten: den ‚weiblichen‘ Blick eines verfeinerten Geschmacks, der nun ebenfalls zur kollektiven Fantasie des Automobils gehört.
 +
 +
Reiner Bader
 +
|Contexte_et_analyse_en=A Zeppelin, a young couple and a car wash - that shows this little film of about a minute. Much of the space between the few settings, a space that disappears into narrative (documentary) film in the continuity of a story. An association space in a sense, images of a small cinematic 'collage' that leads into the collective fantasies of the Germans.
 +
 +
First there is the (camera) view upwards, a shot from the Freiburg sky around 1927. A zeppelin hovers diagonally in the picture and changes direction after a cut. The appearance of an airship still has experience value, is a small aesthetic event that can be even more powerful in the moving image. And that can become a glimpse into the past, into the mentality story of the Germans, for whom this controllable aircraft had become a symbol of technical progress some years before. Ferdinand Graf von Zeppelin - a former general staff officer, who devoted himself entirely to the construction of airships in 1891 - had not only led the German aviation into a new age. , With the Zeppelin he had created a symbol of the conquest of the airspace, an object of national identification. The Zeppelin went down in the history of enthusiasm for technology, which after the accident in 1908 in Echterdingen - the "Z3" exploded - with the Zeppelin donation produced a kind of sacrificial ritual of the Germans. A new aircraft, which incidentally caught up with France's advantage in aviation. As a sublime apparition in the sky, it gained an almost mythical aura that united the nation in a tumult of enthusiasm.
 +
 +
The image of a Zeppelins could evoke the past, the time of a German Reich that had given way to an unstable Weimar Republic in the 1920s, which is entering industrial modernity. After the collapse of the monarchy, the bourgeois classes claim supremacy. And the amateur film also proves to be a medium for presenting the new bourgeois self-confidence: the young couple, who appears transitionless to the Zeppelin and turns hesitantly smiling into the camera on the balcony railing, seems to want to embody something of the bourgeois sense of self, that in the private film can be seen in a new way. For the bourgeoisie since the eighteenth century, free time has been a free space for those who live the difficult balance that asserts a universal claim to bourgeois lifestyle in the ideal of 'education'. To film oneself - this was also a new way to produce an individual 'picture' of oneself and to be in leisure time the 'special' that this lifestyle demanded at the same time.
 +
 +
So it seems almost consistent when the next, half-total shot of the film in the outer space in front of the house jumps to move this picture further into the individual: Two men - one of them is easy to recognize as the one from the balcony - clean their cars, in a sense, represent themselves as car owners, while the camera slides with a pan over the side-by-side cars, which are allowed on the old Baden license plate. Formerly a luxury object of the upper classes, the car should now increasingly mobilize the masses: It becomes a status symbol, in which the sense of progress of the new bourgeois buyer strata manifests itself.
 +
 +
The car care in front of the house turns into a small cinematic stage. The rear side window wienernd the one, slowly behind the front paneling the other, the two men take care of the surfaces of the consumer object automobile: especially its new connection with the world of women - consistently picked up in the car advertising - it in the 1920s become the subject of luxury consumption. Here, too, the claim to an individual world of feelings emerges, the downside of which is the mass production of a dawning consumer society, for which American Fordism, series production on the production line, is a model.
 +
 +
The change of attitude to the interior of the car then brings - a little surprising - a direct cut in the film, as one knows it from feature films. But the view through the windshield also refers to the cinematic medium itself, to the 'screen' of the windshield and to a view that takes possession of the living space through new streets to which cities and landscapes are to be added. The silhouette of the steering wheel evokes this 'male' look of the driver. And the owner of the car, who is now busy at the radiator, appears in the view through the glass, framed 'as in a picture. The setting allows for both to associate, the space that will be adapted in the future the car of freedom of the car, and the image of an I, which should soon connect with the identity of the German man. The small cinematic 'collage' may follow a logic of its own that adds a short shot to the 'masculine' look, barely visible, with three women talking in a semicircle: the 'feminine' look of a refined taste, now also belongs to the collective imagination of the automobile.
  
 
Reiner Bader
 
Reiner Bader
 
|Bibliographie=REINICKE, HELMUT, Deutschland hebt ab: der Zeppelinkult. Zur Sozialpathologie der Deutschen, Köln, Papyrossa 1998; SACHS, WOLFGANG, Die Liebe zum Automobil. Ein Rückblick in die Geschichte unserer Wünsche, Reinbek, Rowohlt 1984.
 
|Bibliographie=REINICKE, HELMUT, Deutschland hebt ab: der Zeppelinkult. Zur Sozialpathologie der Deutschen, Köln, Papyrossa 1998; SACHS, WOLFGANG, Die Liebe zum Automobil. Ein Rückblick in die Geschichte unserer Wünsche, Reinbek, Rowohlt 1984.
 
}}
 
}}

Latest revision as of 16:40, 22 March 2021


Warning[1]

Abstract


A Zeppelin flies over Freiburg; two young men are cleaning their cars.

Description


Total shot: Flying Zeppelin / young couple on a balcony looking at the camera with a laugh. / Half shot: two young men are cleaning their cars. The cars carry old number plates for Baden. / View from the car to one of the cleaning men. / Half shot: Three women stand in a semicircle and talk.

Metadata

Reference / film number :  LFS 06056 2
Date :  Between 1927 and 1930
Coloration :  Black and white
Sound :  Mute
Timecode :  00:00:45
Running time :  00:00:45
Reel format :  35 mm
Genre :  Amateur movie
Thematics :  Industrial and cultural heritage, Industry
Archive :  Haus des Dokumentarfilms

Context and analysis


A Zeppelin, a young couple and a car wash - that shows this little film of about a minute. Much of the space between the few settings, a space that disappears into narrative (documentary) film in the continuity of a story. An association space in a sense, images of a small cinematic 'collage' that leads into the collective fantasies of the Germans.

First there is the (camera) view upwards, a shot from the Freiburg sky around 1927. A zeppelin hovers diagonally in the picture and changes direction after a cut. The appearance of an airship still has experience value, is a small aesthetic event that can be even more powerful in the moving image. And that can become a glimpse into the past, into the mentality story of the Germans, for whom this controllable aircraft had become a symbol of technical progress some years before. Ferdinand Graf von Zeppelin - a former general staff officer, who devoted himself entirely to the construction of airships in 1891 - had not only led the German aviation into a new age. , With the Zeppelin he had created a symbol of the conquest of the airspace, an object of national identification. The Zeppelin went down in the history of enthusiasm for technology, which after the accident in 1908 in Echterdingen - the "Z3" exploded - with the Zeppelin donation produced a kind of sacrificial ritual of the Germans. A new aircraft, which incidentally caught up with France's advantage in aviation. As a sublime apparition in the sky, it gained an almost mythical aura that united the nation in a tumult of enthusiasm.

The image of a Zeppelins could evoke the past, the time of a German Reich that had given way to an unstable Weimar Republic in the 1920s, which is entering industrial modernity. After the collapse of the monarchy, the bourgeois classes claim supremacy. And the amateur film also proves to be a medium for presenting the new bourgeois self-confidence: the young couple, who appears transitionless to the Zeppelin and turns hesitantly smiling into the camera on the balcony railing, seems to want to embody something of the bourgeois sense of self, that in the private film can be seen in a new way. For the bourgeoisie since the eighteenth century, free time has been a free space for those who live the difficult balance that asserts a universal claim to bourgeois lifestyle in the ideal of 'education'. To film oneself - this was also a new way to produce an individual 'picture' of oneself and to be in leisure time the 'special' that this lifestyle demanded at the same time.

So it seems almost consistent when the next, half-total shot of the film in the outer space in front of the house jumps to move this picture further into the individual: Two men - one of them is easy to recognize as the one from the balcony - clean their cars, in a sense, represent themselves as car owners, while the camera slides with a pan over the side-by-side cars, which are allowed on the old Baden license plate. Formerly a luxury object of the upper classes, the car should now increasingly mobilize the masses: It becomes a status symbol, in which the sense of progress of the new bourgeois buyer strata manifests itself.

The car care in front of the house turns into a small cinematic stage. The rear side window wienernd the one, slowly behind the front paneling the other, the two men take care of the surfaces of the consumer object automobile: especially its new connection with the world of women - consistently picked up in the car advertising - it in the 1920s become the subject of luxury consumption. Here, too, the claim to an individual world of feelings emerges, the downside of which is the mass production of a dawning consumer society, for which American Fordism, series production on the production line, is a model.

The change of attitude to the interior of the car then brings - a little surprising - a direct cut in the film, as one knows it from feature films. But the view through the windshield also refers to the cinematic medium itself, to the 'screen' of the windshield and to a view that takes possession of the living space through new streets to which cities and landscapes are to be added. The silhouette of the steering wheel evokes this 'male' look of the driver. And the owner of the car, who is now busy at the radiator, appears in the view through the glass, framed 'as in a picture. The setting allows for both to associate, the space that will be adapted in the future the car of freedom of the car, and the image of an I, which should soon connect with the identity of the German man. The small cinematic 'collage' may follow a logic of its own that adds a short shot to the 'masculine' look, barely visible, with three women talking in a semicircle: the 'feminine' look of a refined taste, now also belongs to the collective imagination of the automobile.

Reiner Bader

Places and monuments


Freiburg i.B.

Bibliography


REINICKE, HELMUT, Deutschland hebt ab: der Zeppelinkult. Zur Sozialpathologie der Deutschen, Köln, Papyrossa 1998; SACHS, WOLFGANG, Die Liebe zum Automobil. Ein Rückblick in die Geschichte unserer Wünsche, Reinbek, Rowohlt 1984.



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