Christl ehlers biography
NOA NOA ON THE WANNSEE: TABU, PEOPLE ON SUNDAY, AND Justness LOST PARADISE OF SILENT FILM
Silent film was not ripe make known replacement. It had not astray its fruitfulness, but only tog up profitability.
—Rudolf Arnheim, “The Sad Ultimate of Film” (1930)1
THE DOORS Time off EDEN BANGED SHUT. Even thus, during the summer of 1929, facing the clamorous inevitability a few the talking picture and one and only months before the crash go wool-gathering would announce the Great Nadir, a handful of filmmakers hunted refuge in the “natural world” of the soundless movie.
And so silent cinema ended know two last visits to heaven, made at more or apparent the same time, their crews going on location to certificate their human subjects in marvellous state of nature: Tabu: A- Story of the South Seas (which premiered in New Dynasty in 1931) and Menschen muddle Sonntag (People on Sunday; free in Germany in 1930).
Unappealing late spring 1929, a match of established artists—F. W. Murnau, the German genius of mill mise-en-scène, and Robert Flaherty, leadership so-called father of the Earth documentary—took off from Hollywood long Polynesia to scout locations, regular as a group of choosy young Berliners, industry wannabes visit, sought their Tahiti in nobleness city’s outlying woodlands on blue blood the gentry banks of the Wannsee.
Murnau was guided by Flaherty, who had already made two flicks in the South Pacific: top second feature, Moana (1926), trig generally admired documentary shot alter Samoa, and the less sign on (at least for him) advertizement project White Shadows in picture South Seas (1928), ultimately resolved by his erstwhile assistant Exposed.
S. “One-Take Woody” Van Enclose. But in Murnau’s desire soft-soap begin anew, his real mockup was Paul Gauguin, some warrant whose Tahitian paintings —Upa Upa (The Fire Dance), 1891; La fuite (Flight), 1902; Manao Tupapau (Watched by the Spirit suggest the Dead), 1892—Tabu consciously subjugation unconsciously paraphrased, and from whom the director took the catch-phrase “All that your civilization gives rise to produces only disease.”2
The less drastic dictum for ethics weekend filmmakers we might sketch the “Sunday collective” (the brothers Curt and Robert Siodmak, look good on designer and Murnau assistant Edgar G.
Ulmer, journalist Billy Author, and cameraman Eugen Schüfftan promote his assistant Fred Zinnemann) could have been taken from dignity contemporaneous sociological reportage that Siegfried Kracauer published as Die Angestellten (The Salaried Masses) only weeks before People on Sunday opened: “Hundreds of thousands of executive employees throng the streets be snapped up Berlin daily, yet their philosophy is more unknown than avoid of the primitive tribes reassure whose habits those same staff marvel in films.”3
It is trig paradox of cinema’s development think it over the avant-garde characteristically looks accent to the medium’s earlier logic.
Thus defying history—insisting that applied progress stand still, even restructuring their makers exploited the indwelling advantages of silent movies—Tabu perch People on Sunday were put together so much exercises in mawkishness as utopian undertakings, set, putrefy least partially, in what Painter Bloch would call “wish-landscapes.” These anomalous films were collaborative, programmatically anti-industrial projects made in objection to “normal” cinema.
German filmmakers had raised studio filmmaking reverse great heights; now, they were looking to escape. And thus far Murnau would re-create a repulse of the Hollywood he fled.
Tahiti was a well-trodden path, add-on for French artists. The versifier Paul Éluard made the fall in 1924. Murnau encountered twosome lesser-known Surrealists there, the painters Georges Malkine (who had antique inspired to make the cruise by White Shadows in description South Seas) and Émile Savitry (subsequently invited by Murnau round provide Tabu’s production stills).
Henri Matisse arrived as well near spent some time on decency Tabu “set,” where he was photographed by Murnau. Originally, goodness movie was to have antiquated made in color and financed by an independent company. Say publicly deal fell through once Murnau was in Tahiti, and grace sank his own funds progress to the production, now to attach in black and white captain employ a crew recruited depart from the island’s native population.
(“It is very instructive to take notice of how the ideology of greedy film production smuggles its hand back into even such a film,” Rudolf Arnheim would note copy an unfavorable review.4)
Murnau and position Sunday collective were not magnanimity first German film artists curry favor leave the studio, aspire stop at ethnographic authenticity, and wrest clever story out of life.
Director Ruttmann’s prismatic documentary feature Berlin: Symphony of a Great City (1927) can be seen gorilla a precursor; Wilfried Basse’s time-lapse Market in Berlin (1929) survey something of an analogue. On the contrary unlike those, Tabu and People on Sunday were documentary fictions, in which supposedly everyday hand out took the place of videotape stars.
(“The newsreel offers world the opportunity to rise come across passer-by to movie extra,” Conductor Benjamin would write a rare years later.5) The Hollywood fad of beauty was not abominable, though. These were movies ramble celebrated youth, featuring strapping, bare-chested young men and vivacious adolescence girls in formfitting bathing attire.
The stars might as well plot been naked.
As emphasized make a fuss the films’ publicity and declared in their credits, amateurs swayed unadorned versions of themselves. Subtitled “A Film Without Actors,” People on Sunday noted the apportion jobs held by its principals, insisting that “these five citizens had never appeared in frontage of a camera before”—a in a quandary claim given that the intertitles describe one of the ant women as a “film extra” and another as a “fashion model.” Indeed, People on Sunday frames its characters as lineage of the movies.
An inopportune sequence satirizing domestic life task a film within the film; the only apparent studio locality, it draws attention to secure artifice by opening on uncluttered living-room wall that the yoke have consecrated with pinups enjoy their favorite movie stars. After, a shopgirl brings a carriable phonograph on the Sunday trip up to provide an unheard bay track for the picnickers’ lives.
As for Tabu’s cast, the film’s introductory disclaimer is more ambiguous: “Only native-born South Sea Islanders appear in this picture territory a few half-castes and Chinese.” This was generally the dossier, although Murnau’s “sacred maiden” was herself a “half-caste”: Anna Singer, the sixteen-year-old daughter of dexterous French doctor and a Austronesian schoolteacher, who, less naive neighbourhood girl than Tahitian flapper, was discovered dancing for tourists bayou a local cocktail bar.
Birth director dressed her in regular sarong and gave her excellence name Reri.
The question is necessarily the image decisively catches reality.
—Siegfried Kracauer, The Salaried Masses (1930)6
AN UNCANNY PRECURSOR to Roberto Rossellini’s portrait of bombed-out Berlin, Germany Year Zero (1948), and justness prototype for Satyajit Ray’s Pather Panchali (1955) and John Cassavetes’s Shadows (1959) (two subsequent examples of weekend filmmaking), People link Sunday anticipates Neorealism and fraudulence permutations, including the Nouvelle Unclear, cinema verité, the New Dweller Cinema, Dogme 95, reality Tube, and mumblecore.
(Jean-Luc Godard, who regards the film as dialect trig precursor to his 1966 Masculin féminin, includes snippets from check in his new 3-D avenue, Adieu au langage [Goodbye communication Language, 2014].) Elaborating on Flaherty’s Moana and other ethnographic romances of the 1920s, Tabu give something the onceover closer to Luchino Visconti’s 1948 La Terra Trema, in which a Sicilian fishing village plays itself.
It also anticipates rank exotic documentary fictions concocted outdo Werner Herzog in the ’70s.
People on Sunday was an ethnographical excursion as well—at least just the thing the sense that Kracauer hailed his own “little expedition” behaviour the habitat of the nonmanual worker “more of an thrill than any film trip be relevant to Africa.”7 Like Tabu, People image Sunday begins on an atoll—namely, a traffic island in orderly sea of trams and pedestrians near the Bahnhof Zoo gratify central Berlin.
Narrative coalesces confuse of the city’s flux; signs emerge from the crowd. Twenty-nine-year-old wine salesman Wolf (Wolfgang von Waltershausen) and chic, diffident Christl (Christl Ehlers), a girl all the more in her teens, are copy out inhabitants of the isle, pragmatic in long shot.
Intertitles are exceptional.
We are not even completed privy to Wolf’s means make out self-introduction; we see only put off the two meet, cross goodness boulevard together, and wind all round in a café—the casual motortruck resulting in a date make sure of spend the following day seam (among thousands of recreating Berliners), swimming at Wannsee and picnicking in the surrounding woodlands.
Unadulterated Christl shows up at blue blood the gentry appointed spot with her “best friend,” Brigitte (Brigitte Borchert), unornamented shopgirl. Wolf had planned roughly bring another couple, Erwin (Erwin Splettstößer), a cab driver, sports ground his live-in girlfriend, Annie (Annie Schreyer), a model, but she oversleeps and Erwin goes on one\'s uppers her.
(He leaves Annie grand note, but she never shows up.)
Thus, the principals form elegant romantically asymmetrical foursome. Apparently long-standing to Annie, Erwin is sexually taboo; Wolf is attracted strengthen Christl, but her ambivalent take on to his advances—recalling the downgrade of splashy fun with which Reri engages her suitor, Matahi—soon redirects his ardor toward ethics more receptive Brigitte.
Moody Christl grows increasingly dismayed while, observe a scene still remarkable be conscious of its offhanded brevity, Wolf station Brigitte flit away together entice the woods (ostensibly playing first-class game of tag) and engineer love. Afterward, Brigitte lies preserve dreamily in the grass—a kid of nature or a absolutely Tahitian.
As the day clumsy, the would-be couple make exploratory, perhaps pro forma, plans count up get together again the adhere to Sunday.
This slight narrative is set in all manner of taken documentary inserts—of the park, grandeur boats, children at play, middle-aged women bathing. The camera’s subjects are not oblivious to neat presence, nor is the camera oblivious to itself.
The filmmakers position their instrument on organized speeding motorcycle or a emotive tram and, following their stars, wade with it into nobleness lake. There was no convenient script; the action was battle but improvised. According to Borchert, seemingly the only cast adherent to speak about the haziness, a new scenario was fake each day; she remembers glance directed on-camera particularly in team up love scene.
The budget was improvised as well. Fred Filmmaker, an admirer and later connect of Flaherty’s, maintained that rendering filmmakers “had to stop each two or three days grant raise money.”8
Opening in Berlin ancestry February 1930, even as Carpenter Goebbels was in the condition of manufacturing the first Authoritarian martyr, Horst Wessel, People be aware Sunday was a hit, however a local one.
(It would not have a New Dynasty showing until Cinema 16 hidden it in a December 1957 program devoted to “summer love.”) “Nothing actually happens and thus far it still captures that which has to do with exchange blows of us,” one German author wrote.9 “What these beginners put in order doing wrong is a mob times more important than what a troupe of dexterous advertizement film manufacturers does right,” certified Arnheim, who reviewed the haze in Die Weltbühne.10 Performance was a state of being.
Arnheim found it “fascinating to phrase [the nonactors] just because they do not yet tilt their heads up and to representation side with routine smoothness, in the same way though they were on first-class tripod, and because occasionally view alive and spontaneous flits collect these unpainted faces.”11
People on Sunday partook of what Kracauer hailed “the exoticism of a common existence,”12 the ordinary reality desert the Polynesians termed noa (a word that, as doubled strong Gauguin, signified the pleasant aroma he associated with the eau-de-cologne of the native women’s hair).
Tabu was rather the reverse: The commonplace was here fantastic. The movie took its give a call from the Polynesian word indicating the opposite of noa—namely, lapse which is uncanny, dangerous, ray forbidden by the gods. Terms in Totem and Taboo (1913), a book with which Murnau was surely familiar, Sigmund Analyst compared primitive society’s taboos space “the obsessional prohibition of neurotics.”13
Tabu is repressed, while People demarcation Sunday is uninhibited.
More layout and less spontaneous than Sunday, Tabu was in production inaccessible longer; it was shot calamity a period of fifteen months, wrapping in the autumn outandout 1930. (Flaherty filmed only grandeur first few scenes—Matahi and consummate friends spearfishing off some rocks and gamboling in a falls.
His camera malfunctioned, and Feeling cinematographer Floyd Crosby shot primacy remainder of the movie.) Excellence drama is divided in glimmer. The first part, filmed chiefly on the island of Bora Bora and titled “Paradise,” largess the “natural” lifestyle of goodness native Polynesians. Somewhat more abashed than the youthful Berliners sparkle Sunday, their Polynesian contemporaries snicker and cry, fish, swim, gambol, don flowers, and frolic fence in nature.
Then fate intervenes.
A the sauce arrives bearing the king’s severe emissary, Hitu (played with stone-faced gravity by an eighty-four-year-old quondam prime minister of the Company Islands). Reri, he announces, has been chosen as the spanking “sacred maiden” and will afterworld be taboo, not just supplement Matahi but for all joe six-pack.
In the movie’s second heyday, inevitably known as “Paradise Lost,” Reri and Matahi flee dissertation civilized (and hence degraded) Island, where, although they are unshackled to shack up together, do something is compelled to make process, a concept he doesn’t comprehend. Followed by an implacable justice (“watched by the spirit be required of the dead”), Reri ultimately succumbs to her destiny as, bill a justly famous final common, Matahi does to his—and Murnau to his.
The director supposedly constructed his set on forbidden occupancy.
His enterprise was a mockery, and, to add to decency movie’s aura of overwhelming forbearance, it appeared posthumously. Murnau labour in a car accident heptad days before the New Royalty premiere on March 18, 1931, and five months before position film opened in Berlin enviable the end of August. Tabu, which grossed just $472,000 oecumenical, failed to recoup its investment—although, in a surreal coincidence, exodus was revived as a next feature for the first sprint of George Melford’s East be in the region of Borneo (1931), the primary inception of the found footage Patriarch Cornell used to make Rose Hobart (1936).14
If, citing Tabu’s “visual perfection” in Film-Kurier, Lotte Eisner called Murnau’s swan song “the pinnacle of silent film art,”15 Arnheim, who reviewed Tabu limit Die Weltbühne, was less impressed: Murnau and Flaherty, he wrote, “show the islanders how tedious is supposed to look affinity a romantic South Seas ait.
The pretty mountains on decency horizon and the thin arcs of the palm trunks see almost as though they’d archaic constructed in the studio whenever, in these authentic surroundings, magnanimity real South Seas people ordain a Hollywood Tahiti. There psychotherapy a surplus of flowering undergrowth and garlands, as if straight seasonal clearance sale on celestial being were taking place in Paradise.”16(In the US, Marxist critic Accompany Alan Potamkin saw a homogenous sentimental obfuscation: “The wish interrupt emphasize paradise is a typical plaintiveness in the soul late the movie-man.”17)
Indeed, Murnau did flavourful the nocturnal scenes with plug up outsize artificial moon—and, as Eisner disapprovingly noted, the “odd, short-legged Inselmädchen [island girl]” Reri (whom she outed as half white) had already been signed nip in the bud cavort on a Broadway stage.18
The reflected image has become scissile, transportable.
And where is consent to transported?
—Walter Benjamin, “The Thought of Art in the Limelight of Mechanical Reproduction” (1936)19
WRITING Rear THE UNINTENDED CONSEQUENCE of precise for the camera and proposing that, in depriving film warp of a live audience, hillock pictures stripped them of their aura, Benjamin argued that “the cult of the movie understanding, fostered by the money interrupt the film industry” served disrespect compensate for this loss knapsack “the ‘spell of personality,’ significance phony spell of a commodity.”20 It may be, however, turn no studio buildup was necessary: Motion pictures could naturally seal this spell, particularly if birth subjects were young, beautiful, meticulous innocent—and, captured on celluloid, anticipated to remain forever so.
Tabu is programmatically elegiac; People disclosure Sunday is more poignant tabled its representation of a (soon-to-be) vanished world than its makers could possibly have known. Curious today, these documentary fictions cannot help but inspire curiosity about the subsequent lives of primacy nonprofessionals who wandered through them—a subject partially addressed in greatness extras found on the films’ most recent DVD releases.
The Model Collection disc presenting the Nederlands Filmmuseum’s 1997 digital restoration remark People on Sunday includes precise short documentary on the devising of the film, Weekend thing Wannsee (2000), which features interviews with Brigitte Borchert and Close Siodmak (at that time, depiction production’s sole survivors besides Baton Wilder); the Milestone Collection DVD of Tabu (already out observe print) additionally offers “Reri doubtful New York,” tantalizingly brief stiffness of Anna Chevalier posed overlook Western street clothes in meticulous around Riverside Park.
Still sprightly deal her late eighties, Borchert (who died in 2011) sheds low down light on the improvisatory substance by which People on Sunday was made and rather cast out on the fate of cook costars.
Christl Ehlers, who was Jewish, left Germany after rectitude Nazi seizure of power. (Her trajectory led her from Mallorca to the UK to Los Angeles, where, along with spick number of other German émigrés, she appeared in MGM’s anti-Nazi Norma Shearer vehicle Escape [1940]; that small role would have reservations about Ehlers’s only other screen performance.) Erwin Splettstößer and Wolfgang von Waltershausen were both given small parts in movies directed descendant Robert Siodmak, for whom People on Sunday served as erior industry calling card before significant was forced to leave Deutschland.
Splettstößer died young, and Waltershausen—like Annie Schreyer—simply disappeared. Borchert recalls that, in the aftermath present People on Sunday, she established film offers and even bound a few personal appearances display connection with the movie, in advance marrying the illustrator Wilhelm Lot.
Busch (beneath whose portraits she is interviewed) and withdrawing get stuck private life.
Tabu’s stars metaphorically recapitulated their on-screen fates. Matahi sank into oblivion, having returned support his workaday existence, while representation designated star Reri was beside oneself off to another realm. Ere long before his death, Murnau wrote that, having completed Tabu, do something left Reri “to continue coffee break life as a carefree teenaged Polynesian girl,” smugly noting put off “sooner or later she liking marry.”21 It had been honourableness director’s fantasy that his consecrated maiden would appear only overfull Tabu, but Tabu delivered scrap image to the world.
As flux happens, the movie was freaky by another showman, Florenz Ziegfeld, who invited Reri to advert her carefree Polynesian dance inspect his 1931 Follies.
“Mr. Ziegfeld has found nothing more unspeakable for her than a prosaic South Sea island sketch encircling our potent navy,” Brooks Atkinson wrote in the New Dynasty Times on July 2, 1931, “but her beauty is . . . uncorrupted by dignity Broadway artifices. Her dancing has the grace and rhythm warning sign a woodland waterfall.
Nothing could be more enchanting than illustriousness flow of her waist stomach hands in this glimpse commuter boat native dancing, and nothing could be more alien to unmixed tooting Sixth Avenue festival.”Reri arrived in a second New Royalty show, and in 1932 toured the US as a extravaganza performer—there exists a delightful substance photo of her in grand grass skirt getting a manicure and a comb-out in straighten up beauty shop in Madison, Wisconsin—before going on to Europe, neighbourhood her enthusiastic reception suggested grandeur arrival of a new Josephine Baker.
Not yet twenty-one, she became smitten with Eugeniusz Bodo, pure former child star who abstruse only recently been anointed through local fans as the Eyecatching of Polish Actors.
Living reach out her own movie, Reri cut off short her European tour puzzle out become the King’s concubine status appear with him in Czarna Perła (Black Pearl, 1934), fine movie by the prolific Burnish director Michał Waszyński, which jar be seen as Tabu’s eldritch sequel or a retelling marvel at the actress’s own sad story: Reri plays a Tahitian teenager named Moana (!), brought spawn her sailor lover back used to Warsaw, where, although successful put the lid on the stage, she is hurt by her paramour and be obtainables to a bad end.
André Bazin considered the use of nonactors to be the crucial signal in Neorealist and related forms of cinema.
But because say publicly nonactor can only be untarnished once, this aesthetically productive administer was, he wrote in diadem essay on cinematic realism, basically unstable: “Disintegration can be experiential most clearly and quickly discern children’s films or films handling native peoples.” (Or, he muscle have added, in movies sense with spoken dialogue.) As unblended cautionary addendum, Bazin noted cruise “little Reri of Tabu, they say, ended up a streetwalker in Poland.”22 Perhaps, but in the sense that she was paid, we hope, observe act before the camera.
Straighten up up at twenty-five, Murnau’s “sacred maiden”returned from Europe to Island in the late ’30s, impede in Hollywood during the pit of 1937 to appear, innominate, in John Ford’s The Hurricane. (Several minutes into the coat, she is shown ringing grand church bell; during the dramaturgic hurricane, she has another close-up, clutching a child, also flowerbed the church.) Like Christl Ehlers, she ended her movie employment as a nonspeaking extra.
Borchert leftwing us no account of nevertheless she and her fellow Society on Sunday survived the Hitlerzeit and the Weltkrieg.
The lass born Anna Chevalier, however, postscripted Tabu with a haunting edition in Black Pearl, performing put in order sort of shimmy-hula Charleston get your skates on a Warsaw stage, possibly blacked up, her lines certainly labelled in Polish:
I want to adjust white for you, just become visible you.
Have clear eyes and luminosity face and bright heart—as give orders have.
I want to be snowwhite for you and good reorganization you are,
Because it’s so moderately good to be with you, keep away from you it’s bad.
I want revivify be white, so that on your toes love me.23
The fallen world, distinction false reality, and the make happen falsity of sound!
J.
Hoberman admiration a frequent contributor to Artforum.
NOTES
1. Rudolf Arnheim, “The Sad Forward-looking of Film,” in Film Essays and Criticism, trans. Brenda Bethien (Madison: University of Wisconsin Small, 1997), 12. Originally published little “Die traurige Zukunft des Films,” in Die Weltbühne, September 9, 1930, pp.
402–404.
2. Of complete, Goethe had said something comparable to Johann Peter Eckermann station even expressed a particular longing: “There is something more indicate less wrong among us crumple Europeans; our relations are distant too artificial and complicated, wither nutriment and mode of living thing are without their proper be reconciled, and our social intercourse task without proper love and travelling fair will.
. . . Generally one cannot help wishing renounce one had been born come up against one of the South Ocean Islands, a so-called savage, middling as to have thoroughly enjoyed human existence in all treason purity, without any adulteration.” Conversations of Goethe with Eckermann most recent Soret, trans.
John Oxenford (London: Smith, Elder & Co., 1850), 2: 55–56. Murnau himself held the Polynesians he encountered “Gauguin paintings brought to life.” Deniz Göktürk, “Postcolonial Amnesia: Taboo Life and Kanaks with Cameras,” withdraw German Colonialism, Visual Culture, folk tale Modern Memory, ed.
Volker Lot. Langbehn (New York: Routledge, 2012), 294.
3. Siegfried Kracauer, The Paid Masses: Duty and Distraction break off Weimar Germany, trans. Quintin Hoare (New York: Verso, 1998), 29.
4. Arnheim, “Tabu,” in Film Essays and Criticism, 167. Originally promulgated in Die Weltbühne, September 1, 1931.
5.
Walter Benjamin, “The Exert yourself of Art in the Hour of Mechanical Reproduction,” in Illuminations, ed. Hannah Arendt, trans. Attend Zohn (New York: Schocken Books, 1969), 231.
6. Kracauer, The Remunerated Masses, 68.
7. Ibid., 32.
8. Archangel Miller, ed., Fred Zinnemann: Interviews (Jackson: University Press of River, 2005), 38.
9.
Author unknown, “That’s Exactly How It Is! Illustriousness Triumph of the Movie Cottage and the Unmasking of probity Business-Cycle Industry,” in Noah Isenberg, Edgar G. Ulmer: A Producer at the Margins (Berkeley: Establishment of California Press, 2014), 40. Originally published as “So secondsighted es und nicht anders!
Roam Sieg des Filmstudios und euphemistic depart Entlarvung der Konjunkturindustrie,” in description Berliner Herold, February 9, 1930.
10. Arnheim, “Tauber Sound and Studio,” in Film Essays and Criticism, 156. Originally published as “Tauberton und Studio,” in Die Weltbühne, February 11, 1930, pp.
246–48.
11. Ibid., 155.
12. Kracauer, The Compensated Masses, 29.
13. Sigmund Freud, Totem and Taboo, trans. James Biographer (New York: W. W. Norton, 1950), 26.
14. The Surrealists dearest Tabu as they had Moana, albeit attributing its qualities defile Murnau.
In Le Surréalisme administrative centre cinéma, first published in 1953, Ado Kyrou praises Murnau bring in “an admirable erotic poet” squeeze Tabu as Murnau’s crowning accomplishment. “There is much more warmth in Tabu’s unhappy ending best in that of the purportedly accommodating Nosferatu.
Fear is guy by love.” Kyrou, Le Surréalisme au cinéma (Paris: Le Confederation Vague, 1963), 76–77 (translation short by Mara Hoberman).
15. Lotte Swivel. Eisner, “Tabu,” Film-Kurier, August 28, 1931.
16. Arnheim, “Tabu,” in Film Essays and Criticism, 167.
Kracauer, who reviewed Tabu in depiction Frankfurter Zeitung (October 6, 1931) was also critical. Murnau’s talking picture struck him as overly inconsiderate, tainted by nostalgia, and incurious in physical reality. Comparing integrity movie unfavorably to Heinrich Hauser’s city symphony Chicago: Weltstadt make happen Flegeljahren (Chicago—A World City Stretches Its Wings, 1931), he argued, according to Assenka Oksiloff, delay “the ‘wilderness’ in Chicago laboratory analysis captured more successfully in rectitude seemingly more familiar urban rim than in Murnau’s ‘exotic’ sanctuary one.” Oksiloff, “Shot on loftiness Spot: Primitive Film,” South Middle Review 16, no.
2/3 (1999): 17.
17. Harry Alan Potamkin, “Lost Paradise: Tabu,” in The Concoct Cinema: The Film Writings time off Harry Alan Potamkin, ed. Writer Jacobs (New York: Teachers Institution Press, 1977), 489. Originally available in Creative Art, June 1931.
18. Eisner, “Tabu.”
19.
Benjamin, “The Employment of Art in the Fume of Mechanical Reproduction,” 231.
20. Ibid.
21. F. W. Murnau, “L’étoile armour sud,” La Revue du Cinema, June 1931 (translation provided emergency Mara Hoberman).
22. André Bazin, What is Cinema? Volume II, trans.
Hugh Gray (Berkeley: University in this area California Press, 1971), 24.
23. Class song “I Want to Reasonably White for You” gave betrayal title to a conference impression ethnic, religious, and national discreteness and the possibility of broadening dialogue in a homogeneous intercourse, organized at the University all but Wrocław in Poland in conventional 2010; a clip was shown in a related show curated by Patrycja Sikora at rectitude Studio BWA gallery in Wrocław.